
Class 
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COPYRIGHT DEPOSnV 



NOWADAYS 



A CONTEMPORANEOUS COMEDY 



BY 

GEORGE MIDDLETON 

Author of Embers, Tradition, etc. 



** But O how different from reality 

Men's fiction is ! how like you in the plan 
Is woman, knew you her as we ! * ' 

A Ballad of Fair Ladies in Revolt 




NEW YORK 

HENRY HOLT AND COMPANY 
1914 



^ 






.-^^1 



1 



\^ 



Copyright, 1913, 1914, 

BY 

GEORGE MIDDLETON 

Copyright in Great Britain and Ireland, and in all 
countries subscribing to the Bern Convention. 

Published February, 1914 



This play in its printed form is designed for the reading 
public only. AH dramatic rights are fully protected both in 
the United States and Great Britain, and no performance- 
professional or otherwise— may be given without the written 
permission of the author and the payment of royalty. All 
public readings are also forbidden, without written permis- 
sion and payment of royalty ; application should be made to 
the author through the publishers. 



THE QUINN * BODEN CO. PRESS 
RAHWAY, N. J. 

FEB 171914 



<0)C!.D 36040 



+ 



To my friend 

PAUL KESTER 

whose name tells all to those who know him 
this book is affectionately dedicated 



PREFACE 

The general growth of interest in the published 
play and the generous consideration shown ray earlier 
volumes have encouraged me to ofter this longer study 
of contemporaneous life to the reading public 

There are obvious reasons why many plays are 
refused production, or fail to find ideal interpretation 
upon the stage for which every play should primarily 
be written. The demands and caprices, too, of our 
over-stimulated theater are such that financial success 
is not necessarily the indication of a play's merit, nor 
does financial failure, which may be likewise due to 
a variety of causes, imply that a play is unworthy. But 
the printed page, whether a play succeeds or fails, 
aifords the dramatist some record of his endeavor. 
Through publication he renders his work accessible 
to those who may not have had the opportunity of 
seeing it produced: through publication he makes his 
bold or futile bid for consideration in the dramatic 
literature of his time. 

As in Embers and Tradition , from several plays 
of which I have drawn the inspiration and suggestion 
of certain ideas and scenes, I have sought in Nowadays 
to reflect some spirit of the moment as expressed in 
the shifting standards of man and woman in relation 
to each other. 

My personal word to the reader would not be 
complete without a tribute to my wife, whose free spirit 
has gone into the making of this play. G. M. 

New York, October 29, 19 13. 



NOWADAYS 



ACT I 
HIS SON AND DAUGHTER 



CHARACTERS 

William Dawson, general plumbing contractor. 

Belle, his wife, 

Diana Dawson, their daughter, a sculptress, 

Sam, their son. 

Peter Row, a reporter on " The Times.*' 

Oliver Hardman, a member of the "Academy," 

Betty Howe, " of around the corner,*' 

Nellie, an old family servant. 



SCENES 
Act I 

His Son and Daughter, 

At the Dawsons'. After dinner, an evening late in 
December, 

Act II 

His Wife, 
The same Scene, The following morning, Sunday, 

Act III 

Mother, 
At Diana*s Studio, Late September following. 

The Scene of the first two Acts is laid in the suburbs 
of a small Capital City of a middle Western State. 
The last Act is in New York City, 



ACT I 

General living-room at the Dawsons'. After dinner, 
an evening a few days before Christmas, 

The architecture of the room, with some modern 
innovations, suggests the period of i860. Two long 
French windows at the right, now heavily curtained, 
are supposed to open on a porch, beyond which the 
lake and the Capitol might be seen. In the center a 
large doorway, with topping, opens on the wide hallway 
which serves as a general entrance; the stairs are seen 
beyond this. There is a comfortable fireplace with a 
marble mantel covered by a heavy lambrequin at the 
left just beyond the door which, when opened, discloses 
a small back stairway to the floor above. A small 
** Rogers '* terra-cotta statuette of a man and woman — 
properly clothed — is by the window. Near this is a 
large covered table, with trade magazines and a lighted 
lamp: a sofa at its right and a chair at the left. 
There is also a large grandfather chair — obviously a 
relic — facing the fire. The walls contain some steel 
engravings and a family portrait of Dawson's father, 
hung by thick red rope-cord and fastened to white 
knobs, after the fashion of an earlier generation. Upon 
the mantel is a glass-incased gilt clock, A large 

5 



6 NOWADAYS 

chandelier in the center of the roonij hung fairly high, 
is strangely innovated with electric lights. Some sim- 
ilar light brackets are on the u/alls. In the right 
upper corner is a heavy desk with large drawers. The 
electric switch is near this. Other furnishings, a foot- 
stool, etc., must add to the stability and comfort of a 
room long lived in. 

There is a log fire burning with logs on the side. 
Strong winter moonlight flows through the curtains, 
when they are pulled aside. The hallway without is 
also lighted. 

Dawson, Mrs. Dawson, and Sam are discovered. 
Dawson is reading the headlines of " The Times!* the 
town newspaper, between puffs of his pipe. Mrs. 
Dawson is seated near him, sewing. Sam is stretched 
out lazily in the grandfather chair by the fire, smoking 
a cigarette. 

Dawson, a well-preserved, domineering though not 
unkindly man, is about sixty. His obvious prosperity, 
achieved through hard application, adds authority to his 
well-defined opinions. He lacks the conscious external 
refinements of his wife but possesses the force and 
character which have won the respect if not the love 
of the town, where he is ranked as one of the *' best 
people.*' 

Mrs. Dawson is a woman of tenderness, capacity, 
and understanding, who has become somewhat quiet 
and repressed under her husband's attitude toward 
their family life. She is about fifty, charming and 
reposeful in manner at first, though suggesting a quiet 
power which, when exerted, is gradually to lose its 



/ 



NOWADAYS 7 

timidity of expression and to become strong and 
assertive, 

Sam, their son, is about twenty-six, handsome, well- 
groomed, and attractive in appearance, though his man- 
ner is flippant and not pleasing. He suggests weakness 
rather than baseness of character. He has followed 
the line of least resistance until it has developed into 
a rule of conduct which adds a sinister shade to what 
would otherwise be mere uselessness. 

Dawson 

Did you ever hear such rot ? " What Eight Million 
Women Want." And it isn't in the funny column, 
either. Belle. (Reading) " Eight Million Women 

Supporting Themselves " Bosh! Exaggeration. 

You can't believe anything you see in the paper these 
days. Nothing but women and politics. What's come 
over "The Times" anyway? (Turning to front 
page) "Woman's Suffrage Edition." Bah! One of 
Peter Rov^^'s brilliant suggestions, I suppose. " Why 
Should Servants Work All Day?" Bah! These 
bachelors. 

Mrs. Dawson 
■ Will you let me see it, dear, when you're through? 

Dawson 

Of course. (He folds it up deliberately and puts it 
in his pocket, pressing it safely there. He goes to the 



8 NOWADAYS 

desk.) Put another log on the fire, Sam. (Sam does 
not move.) 

{Enter Nellie. She is thin and emaciated but 
full of wiry strength. Her long years of 
service with the Dawsons have dulled neither 
her ability nor capacity. She has the fidelity 
that often earns more responsibility than leni- 
ence — though she has long since felt herself 
part of the family, which has naturally given 
her the right to certain familiarities,) 

Nellie 
Will I save dinner for Diana any longer? 

Dawson 

{Looking at his watch) 

No; daughter can't be coming now — if she's coming 
at all. Just like her not to let us know the train. 

Nellie 

X" {Eagerly) 

' Oh, Mrs. Dawson, do you think she'll come back 
^ home ? 

Mrs. Dawson 

One never knows what Diana will do. {Wistfully) 
I hope so. 



NOWADAYS 9 

Dawson 

/ Turn this light on, Nellie. I can't see. {She 
pushes switch near him and he leans over so Mrs. 
Dawson wont hear) Nellie, burn this newspaper. 

Nellie 

I'll save it and read it myself. 

(He takes it back and puts it in his pocket 
again.) 

Sam 
Nellie, put a log on the fire. 

Nellie 
All right, Sammy. 

Mrs. Dawson 
{Displeased) 
Nellie's been working all day. She's tired. 

Sam 
{Blowing rings of smoke) 

So am I, mother. 

(Nellie puts on a log. She gets a footstool 

also and places it under his feet.) 

\ 
\ 

Dawson 
{To Nellie) 
Did the Christmas wreaths come? 



lo NOWADAYS 

Nellie 
Not yet, Mr. Dawson. 

I Mrs. Dawson 

Shall I help you with the dishes, Nellie? 

Nellie 

No, Mrs. Dawson. IVe got them scraped and in 
\hot water. 
\ (Nellie exits.) 

Mrs. Dawson 

Can't the Christmas things wait till to-morrow, 
Will? 

Dawson 

{Positively) 

Always have hung them three days before Christ- 
mas, always will. 

Sam 

Mother, I wish you'd ask Nellie not to call me 

" Sammy. » 

Mrs. Dawson 
She's done that ever since you were a little boy. 

Sam 
Well, it's too familiar. 



NOWADAYS II 

Mrs. Dawson 
It's hard to change settled habits, Sam. 

Sam 
{Half to himself) 
You couldn't change a dollar bill in this house. 

Dawson 
{Testily at desk) 
Where's that brown envelope? 

Mrs. Dawson 
{Calmly) 
Wherever you put it. 

Dawson 

You know how I hate to have things changed — 
Oh, here it is. {He takes out a long legal envelope 
and comes down to Sam) I want a word with you, 
Sam. Straighten that desk out will you, Belle dear; 
that's a good girl. 

{She puts down her sewing and straightens out 
desk but listens quietly to the following) 
This stands for the work of my life and your grand- 
father's. 

Sam 
{Sarcastically) 
Oh, it's the plumbing business? 



12 NOWADAYS 

Dawson 

Yes. " Dawson*s " ; *' General Plumbing Contrac- 
tor." It's kept us all — {Looking at it fondly.) My 
work. Tied up in a piece of legal paper. I'd like you 
to have a share in it with me, Sam — as a Christmas 
present. It's a Junior partnership. 

Sam 
Partnership ? 

Dawson 

It's yours if you'll come home now and learn to 
carry it on as I did. 

Sam 
{Half disgusted) 
Stay here in this town? 

Dawson 
What did you expect? 

Sam 
I thought you said it was a present. 

Dawson 

Wanted you to have it after you left college, but 
college didn't seem to agree with you. 




NOWADAYS 13 

Sam 

I figured if you hadn't needed a college education 
to be a success, I didn't. 

Dawson 

I guess you didn't know how disappointed I was. 
So I've waited, staked you while I let you have your 
fling in the city. Boys will be boys. But you haven't 
set the place on fire. 

Sam 
Arson isn't popular now. 

Dawson 

Isn't it time to come in out of the wet? 




Sam 

I hate trade. (Dawson draws himself up.) Oh, 
I know. You and grandfather were brought up on_ 
plumbing supplies. But / don't wish to be a con- 
tractor. ^^~~ — 

Dawson 
{Hurt) 
Don't worry, Sam. I won't make you stay here 
this time any longer than your Christmas visit. 

Sam 
{Quickly) 
If it's hurting your feelings I'll take it in cash. 



[14 NOWADAYS 

Dawson 

It's not for sale. (To Mrs. Dawson) He won't 
take it, Belle. 

Mrs. Dawson 
{Looking up) 

Remember, you always said it was a boy^s place to 
go out into the world and choose for himself. 

Dawson 
(With some acceptance) 
Well, maybe you'll see it difEerently in a year or so. 

Sam 

Sure. (With a sudden thought) But, meantime, 
you'll not dock my allowance for having the cour- 
age of my convictions? 

Dawson 

Oh, don't fear. I'll carry you till you get on your 
feet. 

Sam 
(Relieved) 
There are good things to be said for trade. 

Dawson 

(Turning firmly) 
Another year of it. That's all. Understand? 
That's all. And then (Significantly) we'll see. 




NOWADAYS 15 

Sam 
( To himself, pleased) 
(Another year. 

Dawson 

But don't you go making a fool of yourself about 
any woman. 

Sam 
(Startled) 
Father, I 



Dawson 
I mean getting married or doing worse. 

Sam 
(Nervously) 
Why, what would you do? 

Dawson 

If Fm paying your bills, don't try me. That's all. 
(To Mrs. Dawson) Are other people's children like 
ours, Belle? We didn't act like this to our parents, 
did we? (As he replaces the envelope and locks 
drawer) And Diana insisted on leaving home, too. 

Mrs. Dawson 
(Anxiously) 
What time is it, Will ? 



i6 NOWADAYS 

Dawson 

It's too late for her to be coming back to-night. 
The last train's In. 

{Re-enter Nellie, loaded with Christmas 
wreaths.) 

Mrs. Dawson 

, "-^^ (Rising) 

Let me have them, Nellie. 

Nellie 
(Places them on table) 
The man's waiting, Mr. Dawson. 

Mrs. Dawson 
(Seeing bill) 
Seven-fifty, Will. 

Dawson 
Take it out of the household money, dear. 

Mrs. Dawson 

I don't know whether there's any left. It's so near 
the first. 

(She starts up towards stairs.) 

Dawson 

Wait. Here's three. (Gives money to her.) Got 
four and a half, Sam? 



NOWADAYS 17 

Sam 
If I had that much Fd get married. 

Dawson 

Tell him to charge it. {He takes back the money 
f'from Mrs. Dawson.) Where's the bell? Did he 
forget the bell? 

Nellie 

ril see. 

(Nellie exits,) 

Mrs. Dawson 

! {Examining them) 

\ You bought the same as last year, Will. 

j 

j Dawson 

' Saves trouble in ordering. Had the wires all put 
on ready, see? 

i 

Mrs. Dawson 

{Sorting them) 

I didn't take the hooks down last year. 

Dawson 
{Surprised) 
What? 



\ 



\ 



i8 NOWADAYS 

Mrs. Dawson 
{Humorously) 
Saves trouble in hanging them, Will. 

Dawson 
{Shaking his head) 
You*re getting older, dear. 

Mrs. Dawson 

Suppose you want them in the same places? 

{He nods and she begins to fix them through- 
out this, getting a chair and standing on it, 
humoring lines and business, Nellie re-enters 
with a Christmas bell and then helps Mrs. 
Dawson.) 

Dawson 

That's fine, Nellie. You hold that chair so she 
doesn't fall. Fll tell you if it's the right height. 

Mrs. Dawson 
{Stretching) 
How is this? 

Dawson 

A little higher. There! That's right. Get the 
other on the same line. 



NOWADAYS 19 

„ Sam 

^ {Aside to Dawson, with hidden intention) 
Father, what's bringing Diana, back all of a sudden ? 

Dawson 
{Eyeing him) 
Hasn't your sister told you? 

Sam 

IVe been too busy to see much of her in the city. 
What's bringing her, anyway? 

Dawson 

How should I know? {Turning) That's right, 
Belles- 

Sam 

She's not the sort who'd come unless you wrote her. 

Dawson 

She'll come if she's failed, won't she? What else 
could a girl do? 

Sam 

I've done everything / could to discourage her 
foolishness. 

Dawson ^-— — — ^ 

You've tried to protect her, I know. Look out, 
/don't fall. Belle. Be more careful, Nellie. 



20 NOWADAYS 

{He lights his pipe as Mrs. Dawson goes to 
the other window, with Nellie holding the 
j chair.) 

I Mrs. Dawson 

Hand me another wreath, Will. 

i' 

Dawson 

Wait till I light my pipe. (Nellie gets it,) Got 
a match, Sam? (Sam oifers him a beautiful gold 
matchcase) H^m^ nice case, where did you get it? 

Sam 

Blew myself. 

/ (Dawson returns case and smokes compla- 

I cently, sitting with his hack to the audience, 

I surveying the women work,) 

Dawson 

I tell you there's nothing like a woman's touch about 
the house. That's what makes the home. A little 
lower. Belle. Sam, when you come back here and 
marry (Sam starts) you'll know what it -means to 
find your wife waiting at home for you, when you're 
tired out working so she can rest comfortably all day 
doing nothing but just fuss about the house. 

Nellie 
(Offering to assist Mrs. Dawson} 

s Your arms must be tired reaching. 

\ 



NOWADAYS 21 

Sam 

{JVith intention) 

Father, is Diana going to stay home now and marry 
and all that? 

Dawson 

{Firmly) 

If she comes home she will stay. I told her that 
when she left against my wishes. {Anxiously looking 
at his watch) Guess she isn't coming, though. She's 
a stubborn mule. 

Mrs. Dawson 
{Getting down) 
I thought I heard somebody on the porch. 

Nellie 

/^'" {Eagerly) 

/ Maybe it's Diana. 
// 

Dawson 

! {Nervously anxious himself) 

\ Nonsense. 

Mrs. Dawson 
{Quickly) 
Maybe she's walked out. She loves the moonlight so. 



/ 



/ 



22 NOWADAYS 

Dawson 

Walk instead of hurrying? After being away from 
me two years? 

Nellie 

{Gathering things up) 
I 
- rU go see. {A loud tapping heard,) That's her. 

/ 

/ Mrs. Dawson 

/ {With suppressed eagerness) 

I Oh, I hope so. 

Dawson 

{Doggedly) 

So she has come, eh? I knew she'd see she was in 
the wrong. 

Mrs. Dawson 
{Happily) 
Oh, Will, be glad. 

Dawson 
But I told her 

Mrs. Dawson 

Don't talk of that now. {Goes hack.) Oh, my 
girl ! Diana ! 



Nellie! Nellie! 



NOWADAYS 

Diana 
(Off) 
Mother! Mother! 



23 



Mother! Huh! 



Dawson 

Doesn't she know /'m here, too? 
(Diana enters,) 



Diana 

Mother, mother, mother! 

/(She has thrown her hat aside and eagerly em- 
braces her mother with a long kiss, 

Diana Dawson inherits her mother s sensi- 
bilities and her father s will-power. She is 
twenty-two or -three, full of vivacity, with 
abundant humor, which is directed to a definite 
purpose. Her dominant note is an exhilarating 
freedom of outlook, which is ever present in all 
\ she says and does. She is not beautiful but 

radiant in manner and appearance,) 

Dearest little mother! So beautiful and not a day 
older these two years. {Hugs her again.) My, but 
I'm glad to be with you! 



Dawson 
{After standing uncomfortably) 
I am here, too. 



24 NOWADAYS 

Diana 

Oh, dad! {She is constrained a moment; finally he 
opens his arms to her, and she hesitates.) 

Dawson 

Come, Diana. Glad you're home again. I forgive 
you. 

Diana 

Forgive me? {Bursts out laughing.) Funny as 
ever, dad. 

Dawson 

{Taken back) 
Funny? 

Diana 
{Going to him, laughing) 
The very first time you spanked me, you shouldn*t 
have hit my funny bone by mistake. {They kiss.) 
Goodness, you're getting stouter, daddy. 

Dawson 

Nothing of the sort. 

Diana 

{Seeing Sam) 

Well, if there isn't energetic brother Sammy. Won't 
you give me a brotherly kiss to show you have also 
forgiven your prodigal sister? 



NOWADAYS 25 

Sam 
{As they kiss) 



Thanks. 



Diana 

{Taking off coat) 

Don*t thank me, I could kiss anybody to-night. 

/-"^ Dawson 

I hope you won't. 

Diana 

,, - ■-^.-.„*»-^'"'" "■■•'■ -.. 

Then watch over me, you two, with careful eyes; 
-for Tm on my toes. It was so glorious under the stars 
with the moon silvering the lake. {Looking about the 
room) M.y, my, everything's just the same. 

Mrs. Dawson 
We have electric lights. 

Dawson 
Your mother's idea; hate them myself. 

Diana 

{Seeing statuette) 

Oh, and your dear old ugly terra-cotta! Has it 
ever been moved in these two years? 



26 NOWADAYS 

Dawson 
(Smiling) 

Diana's not forgotten what a good housekeeper you 
are, Belle. 

/ Diana 

/ Everything else the same. (She gives a comic sigh 
and adds abruptly) Has Peter Row come yet, mother? 

Dawson 
Did you expect to find him here? 

Diana 

Don't you like him any better? (Dawson grunts.) 
'Phoned him from the station to bring our bags out. 
Thought Vd give the dear fellow some excuse to in- 
trude on the family's sacred circle. 

Dawson 
(Shaking his head) 
I have no use for Peter Row. He's a radical. 

Diana 
(Exuberantly) 

After my own heart. 

Sam 

Hope he doesn't get it. Pity you couldn't become 
interested in somebody who has something. 



NOWADAYS 27 

Diana -^^^ 
I am. He's got our bags. We took the short cut. 

Dawson 
{Surprised) 
We? 

Diana 

Yes; Betty; Betty Howe and I. 

(Sam starts violently and catches Diana's 
quick glance at him.) 

Mrs. Dawson 
{Pleased) 
You brought Betty Howe with you? 

Dawson 
{Displeased) 
Here? 

Diana 
Did I forget to write you? 

Mrs. Dawson 

I'm so glad. Where is she? 



28 NOWADAYS 

Diana 

Outside, with Nellie. She wouldn't come in with 
me till I'd seen you all first. Take off my rubbers, 
Sammy. 

(Diana sits in the grandfather chair, puts her 
two feet out at Sam, wiggling them, and as he 
stoops and reluctantly takes off the rubbers, 
she says pointedly) 

I don't think she knows you are here, Sam. 

(He eyes her.) 

Dawson 

But I just wanted the family all together this 
Christmas, Belle. You don't seem to understand the 
family feeling, Diana. 

Diana 
"Oh, Lord, daddy: still suffering from that. 

'<.. _^^ _^,, 

Mrs. Dawson 

{Firmly) 

You did quite right, Diana. She would have been 
lonely having nobody to spend Christmas with. 

Dawson 

{Shrugging his shoulders) 

Well, all right, all right. She's a nice girl in her 
way. 



NOWADAYS 29 

Mrs. Dawson 
{At door) 

Come right in, Betty. Glad to see you, dear. 

(Betty Howe comes in timidly and seems 
cheered by Mrs. Dawson's greeting, Mrs. 
Dawson brings her down to Dawson, with 
her arm embracing Betty. Betty does not 
see Sam, who is concealed by Diana as he 
stoops over her, taking off the rubbers. 

Betty is Diana's age, almost shy in man- 
ner, suggesting a need of protection through a 
certain physical weakness in appearance. She is 
not a commanding character, though capable 
of spasmodic strength. The sympathy she in- 
spires is due more to what she might have been 
rather than to what she is,) 

Betty 
Diana said you wouldn't mind, Mr. Dawson. 

Dawson 

Not at all. Glad to see all the wanderers back. 
Make yourself perfectly at home. 

Betty 

I'll try. 



NOWADAYS 

Mrs. Dawson 

{Removing Betty's coat) 

Let me help you. 
/ (Betty turns as Sam rises with the rubbers 

\ in hand and looks at her steadily. Diana 

\ watches. Betty is startled at seeing him.) 

What's the matter, Betty? Has the sleeve stuck? 



Betty 

{Recovering) 

Yes. — Hello, Sam. Diana didn't say you were here, 
too. 

Sam 

(With a quick, suspicious glance at Diana) 
I think she knew, though. Here, Nellie. 

/ (Nellie has re-entered, and he gives her the 

I rubbers as she comes forward.) 

. 

Dawson 

\ {As he takes Betty's coat from Mrs. Dawson and 
\ throws it to Nellie) 

Here, Nellie. 

\_ 

^--^_„. Nellie 

{Coming down) 
Have you both had dinner? 



NOWADAYS 31 

Diana 

Yes, on the train. Hands full as ever, Nellie. Still 
working yourself to death for Sammy and dad? 

/' 

Nellie 

You're always making fun, Diana. 
/ (She places things out in the hall and returns.) 

I 

\ Mrs. Dawson 

s 

\ Are you sure you girls didn't get cold? 

\ 
\ 

\ Dawson 

{At window) 
Blowing up a bit. 

Diana 

{Hugging Betty) 

Fairly flew with the wind, didn't we, Betty? Sit 
by the fire and toast your feet. Pull the chair up for 
her, Sammy. {He does so,) 

Mrs. Dawson 

It's certainly marvelous the way you make Sammy do 
things. 

Diana 

Now he's going to imitate a man putting on another 
log. 



32 NOWADAYS 

Sam 

Think you're funny, don't you? 

(Sam is occupied with the fire. Betty hesi- 
tates and then sits in chair near him,) 

Diana 

(Getting a long, narrow box she has thrown 
down on table) 

I have something for you, dearest mother. It isn't 
as much as I am sure Sam must have brought you. 
But I'm poor. 

Dawson 

I didn't see what you brought your mother, Sam. 

(Sam throws the log on with a bang, Mrs. 
Dawson puts her arm on Dawson, silencing 
him, showing that Sam has brought nothing, 
Diana opens box and takes out a single red 
rose,) 

^iana 

There! Isn't it a beauty? 

Mrs. Dawson 
Oh, Diana! It's like yourself — ^so — so free! 

Diana 

{Gaily throughout) 
Let me pin it on. Got a long pin, dad? 



NOWADAYS 33 

Dawson 

Ask Nellie to get you one. (Nellie gives one.) 
Roses in December? 

Diana 

A rose, daddy. I would have stopped at the poor- 
house if Vd bought a bunch. Oh, my fingers are cold. 
You do it, Nellie. . 

(Nellie pins it on with exclamations of ad- 
miration.) 

Dawson 

{Glowing) 

Why, Belle, you're blushing like a schoolgirl. No- 
body in town to beat you. Guess I'd better have you 
go with me to the next show. We'll get a box so 
people can see how pretty you still are. 

(Mrs. Dawson hushes hinij playfully.) 

Dlana 

(Laughing) 

Yes, dad, show off your property. 

(She glances at Sam and Betty while Dawson 
and Nellie are admiring the rose.) 

Sam 
(To Betty, quietly) 
What did you come here for? 



34 NOWADAYS 

Betty 

(Same) 
I was lonely. 

Sam 
(Quickly) 
I explained to you why I'd been away these six 
weeks. You're not going to say anything to Diana? 

/ Betty 

I think she's guessed. 

Sam 
You're not going to do anything, here? 

Betty 

I don't know. I wouldn't have come if Fd 
\ known 

\ (She rises J half tottering. Diana comes quickly 

\ to her and covers the situation.) 

Diana 

\ Betty, does your head still bother you? 

Mrs. Dawson 
Are you ill? 

Betty 
I guess it's the warm room all of a sudden 



NOWADAYS 35 

Diana 

Would you like to lie down, dear? 

Betty 
(To Diana) 
Yes; but I must see you afterwards. 

Sam 
{Nervously) 
Eh? 

Diana 

She's to sleep with me, mother; Tm to have my 
old room? 

Mrs. Dawson 
Yes, but it's so early yet. 

Betty 
I'll only rest a moment. 

"■-"-------''^'^^'^ Dawson 

Your room has been waiting for you two years, 
Diana. Nobody has slept in it since you left. 



Diana 

And thousands shivering in the cold ! Full of senti- 
ment as ever, dad. Why didn't you have a light 
burning in the window? 



36 NOWADAYS 

Mrs. Dawson 
Come, Betty. I'll show you upstairs. 

Nellie 
Let me; you're tired. 

Betty 

I know the way. {Kisses Dl\na.) Don't come 
up. Wait for Peter. 

Diana 

I'll let you know when he comes. 

Betty 

{Appealingly) 
Good-night, Sam. 

Diana 

Sam, Betty's speaking. 

Sam 

{Who has stood puzzled at Betty's coming) 

Oh, good-night. 

{They are all silent, and pause, as they watch 
Betty exit up the little stairs, followed by 
Nellie.) 



/ 



NOWADAYS 37 

Dawson 

{Thoughtfully) 
Strange about Betty Howe. 

Diana 

Why? 

Sam 
{Not wishing them to pursue subject) 
Shall we finish the Christmas things? 

Mrs. Dawson 
{Surprised) 
Why, what's come over you, Sammy? 

Diana 

Who's been hanging them? 

Dawson 
7 have. 



\ Diana 

t {Taking her mother's arm and drawing her away 

1 from the wreaths) 

\ We'll have our talk later, when the two tired business 

\ men have gone to bed. 




\ 



\ 



38 NOWADAYS 

.^ Mrs. Dawson 

Yes; I want to hear about your two years 

Dawson 

(Coughing, as they are apparently neglecting the work) 

Here; we'll put the bell up anyway. (They pay no 
attention.) Diana, get a chair for your mother. 

Diana 

You get it, Sammy. 

(Sam gives a grunt j and does so.) 

Dawson 
Here's the bell. 

(Mrs. Dawson starts to take itj but Diana 
gently pushes it back to her father , while smiling 
sweetly.) 

Diana 

You put it up, daddy; mother's tired. You won't 
have to reach so far. Hold the chair, Sam. We'll 
tell you if it's all right, daddy. 

(Dawson reluctantly gets up on chair, under 
chandelier, as Sam holds it, and fastens bell.) 

Mrs. Dawson 
But let me. I've always done it. 



/ NOWADAYS 39 

/ 

' Diana 

Yes, I remember. But this time you'll crush your 
rose. 

(Nellie enters in back and is astonished at 
seeing Dawson.) 

Nellie 
Oh, good Lord! 

Dawson 
{Testily) 
Don't shake that chair, Nellie; I'll fall. 

Mrs. Dawson 
What is it, Nellie? 

Nellie 
Peter Row is here. 

Diana 

Peter? (Joyfully) Goodie! Come right in, Peter. 

(Peter coijies in with the bags in his hand. 
She greets him joyfully. Nellie goes out back 
again. 

Peter Row is passed thirty, with an easy- 
going manner, attractive in an unassuming way, 
and not over-particular about external appear- 
ances; but he has a whimsical humor toward 




\ 



40 NOWADAYS 

all the people he meets. He suggests a rugged 
honesty, coupled with a feminine tenderness, 
which makes him an endearing personality.) 

I'm so glad to see you. 

Peter 
Are you? 

Dawson 

{Holding bell, with his hands above his head) 

Do you expect me to stand here forever? 

Diana 

Dad's posing as a Diving Venus. 

Dawson 

Never mind Venus. (Cwr//y) Hello, Row. {Test- 
ily) Is this right, Belle? {She nods.) 

Peter 
{As they mutually greet) 
Hello, Sammy; enjoying your visit? 

Sam 

{Sarcastically) 
Fine. 

Peter 

Why, Mr. Dawson, is this doing woman's work the 
effect of reading our Woman's Suffrage edition ? 



\ 



NOWADAYS 41 

Dawson 
{Getting down) 
Wouldn*t read such stuff. 

/ Diana 

Sh! Dad's afraid of being influenced. 

Dawson 

No broad-minded man can be influenced by the 
papers. 

Peter 

That's true. You've thought about Woman's 
Suffrage a lot, haven't you? 

Dawson 

Don't have to think about something I feel, I 
tell you, if we had woman suffrage, women would all 
vote like their husbands. 

Peter 
They say it would double the ignorant vote. 

Mrs. Dawson 
{Looking about) 
What's become of our paper, Will? 

Peter 
Take mine. 

\ . {He gives it to her, 'Dawson is displeased.) 



42 NOWADAYS 

Mrs. Dawson 

There are eight million women supporting them- 
selves; think of that, Diana? 

Dawson 
Old maids and widows. 

Peter 
Most of them supporting families. 

Dawson 

They ought to be ashamed of themselves having 
families. 

Mrs. Dawson 

(Seated and reading paper) 
Eight million! 

Peter 

By the way, Mr. Dawson. There's a tip in " The 
Times " office that you're going to take Sam into 
partnership with you and start a branch office in New 
York. 

(Diana, who has been with her mother, looks 
up, interested.) 

Dawson 

What business has your paper got prying into my 
affairs? 



NOWADAYS 43 

Peter 
(Smiling) 
We like to humor our advertisers. That^s how we 
live. 

Diana 

{Making point) 
Is it true, dad? 

Dawson 

(After a brief, impressive pause) 

You can tell your readers that when my son goes 
into partnership with me he'll come home to stay. And 
I'm contented to let him remain in the city for the 
present. 

Sam 
Did you get that, Row? 

Peter 

Sure; young age pension. 

Diana 

(Turning away thoughtfully) 
So. Still helping him! 

^^^.. Mrs. Dawson 

I (Nervously, fearing a quarrel and leaving paper on 
I sofa, near window) 

^ Come, Will, we'd better put the wreaths in the 
outer hall. 



44 NOWADAYS 

Dawson 

All right. {Looking at Peter and Diana) Sup- 
pose you two want to discuss modern economics? 

Diana 
Dad, youVe got a poet's vision. 

Dawson 
I hope your two years away have taught you sense. 

Diana 
I inherited it. 

Dawson 

Not from me. I mean {She laughs,) It's 

you, Peter Row, who put foolish, new-fangled ideas 
in her head about leaving home. 

Peter 
It was something God gave her. 

Diana 

{Quickly) 
With a little help from mother. 

Dawson 

A girl leaving home to be a sculptress! Who ever 
heard of it? But I've forgiven her, now that she's 
come back to stay. 



NOWADAYS 45 

Peter 

(Surprised) 

To stay? 

(Diana starts to deny, but her mother halts 
her,) 

Dawson 
So don't spring any more of those new ideas on her. 

Peter 

You flatter me. Diana just grew into what she is. 
Nobody could change her when it's a matter of doing 
what's right. 

Diana 

Peter I 

Dawson 

(Looking at them as Mrs. Dawson goes up) 

What's right? Huh Row, you're one of 

those muck-rakers disturbing other people who have 
responsibilities and a family to support; but I notice 
you don't own anything and you can't be hurt by a 
change. 

Peter 

The hell that was good enough for your father 
ought to be good enough for Sammy's father? 



46 


NOWADAYS 




Dawson 


Exactly. 






Sam 


Oh, cut It, 


Row. 


: (Sam 


goes up and joins his mother in hall in 


back.) 





Dawson 

\_ {Emphatically) 

When you get property, white hairs, and have a 
family 



Peter 



Help, help! 



Dawson 

{Excitedly) 

You'll see there's nothing in these new-fangled ideas. 
My father came into this town a barefoot boy and 
look what he left me so I can leave it to my children. 
Think that over when you go around making a living 
by tearing down other people's work. 

(Dawson goes out in back.) 

Peter 
Wow! Call an ambulance. 



NOWADAYS 47 

Diana 

/ {Laughing) 

/ He never liked any of my men friends. Afraid 
I'm going to marry them all. 

(Nellie enters and crosses with tea-tray.) 

Diana 
Nellie, tell Betty Peter is here. 

i 
I 
j 

I Peter 

j Nellie, don't tell her right away. 

(Nellie goes up the little stairway. Diana 
goes back and closes the door, shutting the 
others from view. She comes radiantly to 
Peter, holding out both hands, which he takes. 
The following is played with mingled humor 
and frankness J with a serious note underneath.) 

Diana 

Really, hello, Peter. 

Peter 
Really, hello, Diana. 

Diana 

Glad to see me again? 

Peter 
Glad to see me? 



48 NOWADAYS 

Diana 

(Nodding) 
Hu-hum. 

Peter 
Hu-hum to your question. 

Diana 
Your letters have been a joy. 

Peter 
Did they help make it easier ? 

Diana 
(Turning away) 
I have never yet lost faith in myself; but I've ques- 
tioned whether my opportunity will ever come. 

Peter 
(Confidently) 
It will. 

Diana 

(Looking up frankly) 
You've always believed in me, haven't you? 

Peter 
A newspaper man has got to believe in something. 



NOWADAYS 49 

Diana 

I'm rather a human being, Peter. I like and need 
to feel a warm hand in mine, up those five flights, 

getting my own meals, and sewing — and Mother's 

been so good — but dad! 

Peter 
He's a good-natured old fossil. 

Diana 
(^Playfully admonishing him) 
Peter, I love him. 

Peter 

I love radishes, but they don't agree with me. If 
he had a new idea he'd die of dropsy. Funny his 
thinking you are going to stay. 

Diana 
{Surprised) 
You know I'm not? 

Peter 
Never saw you disappoint me yet. 

Diana 

You wouldn't wish it, even if — I could be per- 
suaded to stay? 



50 NOWADAYS 

Peter 
What's going to persuade you? 

Diana 
I understand, Peter. You want me to be something. 

Peter 

Yes; more than anything else. There's a lot of 
foolishness in this town that all a woman ought to 
do is to marry and have babies. They're nice enough 
all right, but God put something pretty big into your 
soul and it doesn't need a husband to help it along: 
a love of beauty and a power to make it live for others. 
I've told you so often you owe something to that. 

Diana 
Peter, why don't you escape from this place, too? 

Peter 

I'm a lifer, I guess. I can think for other people 
and build the most beautiful plans, castles, aeroplanes, 
careers, and things — get people angry, stir them up. 
Maybe some day I'll write that novel I told you of. 
{Looking at her fondly) But somehow I'm a lazy 
critter and I guess I'd better stay here and dust the 
geraniums. 

Diana 
Why don't you come to New York? 



NOWADAYS 51 

Peter 

People see nothing but electric lights there. Here 
occasionally we can see the stars. 

Diana 

{Going to him) 
What's the real reason you won't come? 

Peter 
(Eyeing her) 
Some day, when you're a great success, I'll tell you. 

Diana 

I'll wager you won't even then. But I've half a 
mind to be a success just for that, 

Peter 
I'll wait. 

Diana 

Won't you tell me now? (He shakes his head.) 
Won't you tell me a wee little bit of something now? 

Peter 

Yes, Diana. One of the reasons I drove out — I 
almost forgot it, seeing you again. Come to the win- 
dow. (He pulls aside the curtain) Look across the 
lake. See it in the moonlight, three miles across? 
That's gone up since you went away. 



52 NOWADAYS 

Diana 
The dome of the new capitol? 

Peter 

Yes. The architect had a sense of humor. Made 
it so beautiful every time even I pass it I feel like 
taking off my hat and praying. Tough on the poli- 
ticians. 

Diana 

Do you feel as though you were praying when you 
see something beautiful? 

Peter 
Yes; but I do a heap of cussing. 

Diana 
(Mock seriously) 
Father*s terra-cotta has damns written all over it. 

Peter 

(Pointing) 

There's a vacant pedestal in front of the approach — 
like an altar. And a statue is to go on it. 

Diana 
A statue? Is this where 1 come in? 



NOWADAYS 53 

Peter 
You've got me. It's to be symbolic. 

Diana 

Something everybody will disagree about? 

Peter 

Yesterday " The Times " heard they*d decided to 
have an open competition ; secret, of course, you know. 
I thought it would be a fine thing for this burg if " the 
female of the species " 

Diana 
{Joyfully) 
Oh, Peter, wouldn't it be a joke if 



Peter 
{Quickly) 
An awful joke on your father. 

Diana 
But wouldn't mother be happy! 

Peter 

By the way, it was her old friend, Oliver Hardman, 
who told me. He's coming out to see her to-morrow, 
he said. But you mustn't tell him your intentions be- 
cause he's been appointed on the Legislative Com- 
mittee as judge. He's down to get a line on it. I 
pumped him a bit. I know what he thinks appropriate. 



54 NOWADAYS 

Diana 

What? 

Peter 

Something they can call " Democracy." No re- 
lation to any of our present parties. 

Diana 

{With a flash, glancing at the newspaper MrS. 

Dawson has left on the table) 

"Democracy"! {She gazes rapt before her,) 
I've got it now. I see it, don't you? 

Peter 
Never have yet in this country. 



That's It! 



Put me wise. 



Diana 



Peter 



Diana 

Oh, I won't tell even you till I see if there's room 
for it. {Significantly) But it's got a woman in it. 

{There is a slight pause and Betty nervously 
comes down the little stairs and closes the 
door.) 



NOWADAYS 55 

Betty 
Peter! 

Peter 
{Greeting as a very old friend) 
Glad to see you, Betty Howe. 

Diana 

You've rested? 

Betty 
{Nervously) 
Where are the others? 

Diana 

{Opening door in back and looking out) 
Helping father. 

Dawson 
{Outside) 
A little higher, Belle. 

Betty v 

{To Peter, so Diana cant hear) 

\ I couldn't stay another moment without Diana's 
\ knowing. 



56 NOWADAYS 

Peter 
(Surprised) 
YouVe not told her? 

/ Betty 

/ (Quickly) 

I couldn't. I was afraid you might, now that 
Sammy 

Peter 
• It was not mine to tell. But you promised. 

Betty 

I always fall down, don't I? (Diana laughs and 
closes the door.) Now, what will Diana say? 

\ Peter 

\ Whatever is right. 

V 

Betty 
(Gaining courage) 
Diana! What made you bring me here? 

Diana 
(Subtly realizing the seriousness of it) 
What made you come? 



NOWADAYS 57 

Betty 

I don't know. There's something always seems to 
drag people back, isn't there? 

Peter 
Or keep them anchored. 

Betty 
{Nervously throughout) 
Did you know Sammy was coming here, too? 

Diana 

{Calmly) 
Yes; mother wrote me. 

Betty 

And you suspected? 

Diana 

I knew only that when he was at college you were 
fond of each other. 

Betty 

And when mother died a year ago you thought I 
went to the city to ? 

Diana 

Lots of people go to the city, Betty. It's the 
modern disease. I'm even trying to get Peter there. 



58 NOWADAYS 

Betty 

But not to be together as — oh, no ! You re not the 
sort who would hide things. 

Diana 

{Going to her, tenderly) 
You said you were living alone, 

Betty 

Why didn't you ask me any questions when you 
came to see me? You knew I had no money and was 
not earning any. 

Diana 
For the same reason I always wrote before I came. 

Betty 

Because you knew somebody was paying my bills. 
Isn't that it? 

Diana 

I knew you were Betty — " Betty Howe around the 
corner," — ^who had the run of our home here when 
we three were all kids together. 

Betty 

But you knew it was Sam who was coming to see 
me? (Diana nods.) And you could still ask me to 
come back here to your home? 



NOWADAYS 59 



Diana 

{Simply) 
Why not, if he could come, too? 

Betty 

(Crumpling) 
Oh, and I was afraid to tell you. 

Peter 
Betty wouldn't let me, 

Diana 
(Surprised) 



You knew? 



Betty 



Oh, it isn't so terrible. Except Sam thought, when 
I went with him after mother died — oh, we were both 
young and we thought, when it first happened, it would 
raise such a rumpus with our parents. Peter had 
found out. 

Peter 

I was on another story in a burg near here, mixing 
in people's private affairs, being a good reporter. It 
was before a license was necessary in this state and 



Diana 
(Surprised) 



Married? 



6o NOWADAYS 

Peter 
Yes. 

Betty 

Three years ago. 

Diana 

Betty! 

(Sam enters from back and sees the situation. 
He leaves the doors open. The others outside 
are not seen, Peter and Diana watch him 
as he comes down; then Betty looks up and 
rises and holds out her hands to him for for- 
giveness at having told. Then, with a sob, 
she goes out and up the little stairs. Sam sees 
they know that he is married. There is a 
pause. ^ 

Peter 
Guess I'd better be going, Diana. 

Diana 

To-morrow, Peter? 

Peter 

Yes. I'm driving Mr. Hardman out to see your 
mother in the morning. Good-night, Sam. 



NOWADAYS 6i 

Sam 

{Emphatically) 

Now remember this is my affair. She*s my wife. 
Let me handle it my way. I don't intend to live in 
this place unless I have to. Understand? 

Diana 

{Firmly) 

I'll give you till to-morrow, Sammy. Good-night, 
Peter. 

Peter 

Good-night. 

(Peter ^0^5 off, and Dawson and Mrs. Daw- 
son are faintly heard speaking to him. Sam 
looks at Diana and then back at the others as 
Diana gives him a long, questioning look and 
crosses to the window.) 



Sam 

I've got some say. I did the decent thing by her. 
Married her first. That's more than most men. 



Diana 

{Scornfully) 
The decent thing by her. I wonder. 



62 NOWADAYS 

Sam 

I don't care how much you wonder if you shut up. 

(He yanks the chair around, pulls out a ciga- 
rette, lights it, and stretches before the fire 
again as Diana sits gazing at him.) 

Diana 

To-morrow, Sammy. To-morrow. 

(Dawson, followed by Mrs. Dawson, comes 
down, closing the back doors. Mrs. Dawson 
sits by lamp and begins to sew, but records her 
impressions of the following as she listens in- 
tently. Dawson sees his son and daughter.) 

Dawson 

{Beaming) 

Ah, the family all together for once. {Takes 
DianaV hand) Glad you're back, little girl! We've 
missed you. Where's my pipe. Belle? 

Mrs. Dawson 
Where you left it. 

Dawson 

{As he finds pipe and lights it) 

The first time it seems like home in two years, eh, 
Belle? Nothing like having the chicks right under 
our wing. 



NOWADAYS 63 

Diana 

{Abruptly) 

Father, why doesn't Sammy stay here and accept 
your partnership? 

Sam 
{Quickly) 
Why didn't you stay at home and help mother? 

Diana 
I had my work. 

Sam 
So had I. 

Diana 
How much is Sam making, dad? 

Sam 

Dawson 
{Complacently) 
Takes time for a young fellow to get started. 

Diana 

{Insistently) 
But he isn't making any money? 



64 NOWADAYS 

Dawson 
{Reluctantly) 
Nothing to speak of. 

Diana 
Don*t worry, Sammy; neither am I. 

Dawson 
{To Sam) 
That's why Diana's come back. 

Diana 

{Quickly) 
Don't misunderstand, dad. 

Dawson 

{After eyeing her a second in doubt) 

Not at all. We all make mistakes — especially when 
we're young. 

Diana 
But I made no mistake. 

Dawson 

You will have your little joke. 

Diana 

I'm like you, father. 



NOWADAYS 65 

Dawson 

Then perhaps you understand my feelings when you 
left a little better. I couldn't get it into my head how 
any girl could leave a home like this, where you have 
everything — trees, flowers, fresh air, and a lake view 
that's the best in the county. 

Diana 

{Looking out window and leaving curtains open, with 
moonlight coming in) 

And where one can see the dome of the Capitol, and 
think of the altar waiting. 

Dawson 

Sammy had to leave. It's the way with sons. But 
I thought you would stay here where I passed my child- 
hood and you were born and had all your early asso- 
ciations. Why, your mother has hardly ever even 
wanted to leave here. But you had to up and go. 

Diana 

Yes. I had to. 

Mrs. Dawson 
{Wishing to avoid the discussion) 
Don't let's talk of this to-night. 

Dawson 
Had to ? Who made you ? 



66 NOWADAYS 

Diana 

Something inside. Here — burning and singing. 

Dawson 
(Emphatically) 
Rot! 

Mrs. Dawson 

She*s only come home, Will. Don't make it hard 
for her again. 

Dawson 

Because I*m her father and objected to her leaving 
you all alone? That's unkind of you, Belle. 

Diana 

( Good-naturedly ) 

Father thinks I am still crazy — oh, you said so — 
because I wanted to go to the city and make marble 
live. 

Sam 
Funny reason to go to the city. 

Dawson 
(Point-blank) 
Well, you're over that foolishness, aren't you? 



NOWADAYS 67 

Diana 

/ {Facing the issue) 

/ That's just where you're mistaken, dad. 

/ Dawson 

[ {Soberly) 

Then you're not going to stay with yout mother 
and me? 

Diana 

Since you made it easy for me by writing, I'll come 
''^ and see you very often. 

Dawson 

And make a hotel of our home ? Not much. ( Con- 
trolling himself) Now, Diana, your mother's getting 
old and feeble. 

Mrs. Dawson 
{Emphatically) 
Nothing of the kind. Will. 

Dawson 

I know better. Suppose anything should happen 
to your mother ? What would / do ? 

Diana 

{Laughing) 
So you are thinking of yourself, daddy. 



68 NOWADAYS 

Dawson 

I'm thinking of a girl's place at home with her 
parents till she marries, doing a woman's work. I'm 
not proud of having my daughter ofE earning her own 
living as though I couldn't support her. 

Diana 

{Not taking him too seriously) 
Why, daddy, how could I stay at home when It 
was you who made me go ? 

Dawson 

(Bewildered) 
Me? 

Diana 
( Whimsically ) 
Yes. You and the turtle. 

Dawson 
The turtle? 

Sam 
She's crazy, all right. 

Diana 

(Fancifully throughout) 

Yes, the dear, dear turtle. I've laughed so many 
times when I think of what little things determine our 



NOWADAYS 69 

lives. Do you remember that day — long ago — ^when I 
was a real little lady, and Sammy wasn't such a 
gentleman? Of course you don't. Nellie was sick 
and mother had taken Sammy to the dentist for some- 
thing and you had to stay home and take care of me. 
You ought to remember that day: you said you had 
such a headache when it was over. You were so 
happy taking a woman's place that you fell asleep 
from exhaustion. That was my chance. Destiny 
opened the door and I went out into the garden. 
It was all flowers and mud. And, daddy, there on 
the path I saw a turtle: a poor, lonely, little turtle; 
oh, so lonely I felt sorry for it — because you had 
mother and Sammy and me, and the little turtle hadn't 
anybody. Somehow I wanted the turtle to have some 
little turtles so she wouldn't be so lonely. You see, 
you ought to have told me where turtles and babies 
came from. 

Dawson 
A young -girl shouldn't 

Diana 

So I held the turtle with a stone and took the clay — 
almost the same color as its dirty back — and I began 
to make a turtle. I rounded it, put legs and two 
heads on it — so it could go in either direction — and 
it seemed to move before my eyes. I'd made a turtle 
out of clay! And something stirred within me. I've 
never lost it, dad; never forgot that first thrill inside. 



70 NOWADAYS 

which told me I could make things live by molding 
them with my fingers. That's when I really became 
a sculptress. Oh, daddy, it's here, always here inside, 
and I know if I keep at work I will succeed. I know 
— I know. And just think; if you hadn't fallen asleep 
and left the door open, I should never have entered 
into my garden. 

( There is a pause. Dawson looks bewildered. 
Sam sneers. Mrs. Dawson gazes before her, 
apparently deeply moved by Diana's words, 
which she has followed eagerly throughout.) 

Dawson 

Have you any clear idea what she's talking about, 
Belle? 

Mrs. Dawson 
I think I understand. 

Dawson 
I don't. Do you, Sammy? 

Sam 
Plenty of men can make statues. 

Dawson 

" Something inside/* I never felt anything like that 
troubling me. 



NOWADAYS 71 

Mrs. Dawson 

So many people use the same words, but cannot 
understand each other. 

Sam 
Rot! 

Dawson 

Well, you seem to think it's mighty important, 
whatever it is. But what have you got to show for 
these two years? 

Diana 

No more than Sammy. 

Sam 
You seem to think we're alike. 

Diana 

{Emphatically) 

No, I don't! — But I keep on working and trying: 
when I'm tired I go see all the wonderful dancers; for 
they are statues in motion 

Dawson 
{Suspiciously) 
You send you were making no money. 



72 NOWADAYS 

Diana 

Climb my five flights and see how I live. 

Dawson 
But you live. 

Diana 

(Radiantly) 
Wonderfully ! 

Dawson 

And can afEord to go to the opera and dances 
and 

Diana 

Why this sudden curiosity, dad? You never in- 
quired before. 

Dawson 

Who's been paying your bills ? Do you mind telling 
me? 

Diana 
I don't mind, — ^but I can't. 

Dawson 
{With growing intensity) 
I think I have the right to ask that. 



What right? 
Vm your father. 



NOWADAYS 73 

Diana 

Dawson 



Diana 

(Earnestly) 
Father, when I was at home you thought you'd 
force me to do as you wished because you paid for 
my food and clothes. When you took that from me, 
you ceased to have that right. (More tenderly) 
You're forgetting, daddy, that since I've left you've 
not helped me with my work nor given me a penny. 

Dawson 

(After an uncomfortable moment) 
But you haven't answered my question? 

Diana 

(Calmly) 
I thought I had. 

Mrs. Dawson 
JWill,- 

Sam 
(Starting up) 

I wrote you, dad, what would happen to a girl 
alone in the city without a mans protection. 



74 NOWADAYS 

Diana 

Sammy, you're funny. 

Sam 
You ought to be ashamed of yourself. 

Dawson 
Diana, I'm serious. 

Diana 

So am I. That's why I'm laughing at Sammy's 
sudden desire to consider {pointedly) his family. 

(Sam subsides.) 

Dawson 
{Losing patience) 
You're evading my question. 

Diana 

I'm not insulting something I love. 

Dawson 
{Forcibly) 
Is there some man mixed up in it? 

Diana 

Why a man? 



NOWADAYS 75 

Dawson 
Damn them, I know them. 

Sam 
So do I. 

Dawson 

You shut up, Sammy. Answer me, daughter. 

(5roy^^w) You haven't ? Answer me. Good God, 

girl! {Taking both her shoulders forcibly.) Answer 
me. 

Diana 

{Calmly looking at him) 

No, daddy. Maybe I'm not attractive enough to 
be endowed. 

Dawson 

{Believing her after a long gaze into her eyes) 

There's only one who could honestly help you. Was 
it Sammy? 

Diana 

That's funny, too. 

Sam 

You bet it is. 



76 NOWADAYS 

Mrs. Dawson 
{Putting aside her work) 
Are men the only ones who help women ? (Dawson 
looks at her incredulously.) Tell him, Diana; it's best 
now. 

Dawson 
{Incredulously) 
You knew? And you kept it from me? 

Mrs. Dawson 

{With some slight hesitation at first, and then with 
increasing courage and firmness) 

It was a good many years since I last held a brush, 
isince just before we were married, Will. I had an odd 
little idea I thought might sell as a specialty; paper 
dolls, with separate sheets of water-colored clothes 
to put on them. They are so much softer than the 
printed kind, and children like anything soft. I wrote 
about it to Mr. Hardman. He had been so kind to 
me years before at the Art School. He thought I had 
had such promise. He found an opportunity to use 
the dolls. They caught on in the best shops. They 
pay me very well. I made enough each month to 
help Diana when she went behind. 

Dawson 

{Dumbfounded) 

You? After you heard me say when she left I 
wouldn't give her a cent? 



NOWADAYS 77 

Mrs. Dawson 
( Tartly ) 
You were keeping Sam, weren't you? 

Dawson 
That's diiferent. 

Mrs. Dawson 
I didn't see why we shouldn't help both our children. 

Dawson 
{After some confusion) 
And you took it, Diana? 

Diana 
Yes. 

Dawson 

You knew how she got the money? 

Diana 
Yes. 

Sam 
Mother working herself sick for you 



Mrs. Dawson 
{Firmly) 
I told you I have never been so happy — never. 



78 NOWADAYS 

Diana 

(With kindness going to him) 

Dad, I don't mean to be unkind — ^but I had to 
study. You wouldn't recognize what it meant to me. 
I had to live. Sam and I both went against your will 
in leaving home — but you helped him because he was 
your son; I was only your daughter. 

( There is a long pause. DiANA goes to her 
mother and kisses her silently, showing the close 
bond between them. Dawson is cornered and 
doesn't seem to know what to say. He starts 
to speak several times and stops.) 

Dawson 

You seem to think boys and girls are the same, but 
they're not. Men and women are different. {Hesitat- 
ing) Why, Diana, you may not know it but your 
mother herself had foolish ideas like you have when 
I first knew her. 

(Mrs. Dawson starts to protest.) 

Diana 

{Surprised) 



Mother? 



Dawson 



Yes; you didn't know that, did you? She was poor 
and didn't have a mother to support her 



NOWADAYS 79 

Mrs. Dawson 
Oh, hush, Will 

Dawson 

Well, you had to work for a living — didn't you? 
Had to, mind you — {To Diana) She'd about given 
up when I met her in the city — trying to work at night 
to feed herself in the day while studying Art. 

(Mrs. Dawson gazes before her, thinking, as 
Diana has come close to her,) 

Diana 

Mother ! 

Dawson 

But she was sensible ; when a good man came along 
who could support her she married him and settled 
down. Look how happy she's been here — here with 
a home of her own and associations and children. 
Where would she be to-day trying to paint pictures 
for a living? There's lots of men who can paint 
pictures — as Sammy says; and too few wives for hard- 
working, decent men who want a family — which is 
God's law. That's why I helped Sammy and not you. 
He'll have to support a family some day. You won't 
if you marry the right sort of man. You'll find out 
I was right when you marry and have children like 
your mother. 



8o NOWADAYS 

Diana 

{Wistfully) 

And now her children have both left her. Dear 
mother, what has she to do? 

Dawson 

What has she to do? Well, just you wait: you'll 
see what a good wife has to do for her husband. 

Diana 

But, daddy dear — suppose the right man doesn't 
come or {thinking of Peter) doesn't even ask me? 

Dawson 
{Trying to answer her and then giving it up testily) 

Why — ^why — it's getting too late to answer any such 
silly questions. (Diana smiles.) Sammy, you go to 
bed and leave them here to powwow, and if I've 
got to support you both in the city I'm going to have 
some say. I don't intend to open you to dangers, 
Diana. Sam's got to look out for you and live with 
you, see? 



But- 



Diana 

Mrs. Dawson 
{Halting her) 



Not now, dear. 



NOWADAYS 8i 

Sam 
{Sarcastically) 
Fine. I'll spend all my time posing fpr a cupid, eh, 
/Diana ? 

Diana 

(Significantly) 
As I said, you and I, Sam, will talk over everything 
to-morrow. 

(Sam gives her a look and goes out back and 
upstairs. Dawson turns, after watching him 
go off, and looks for a while at the two women 
seated together.) 

Dawson 

I'll have to help you make a fool of yourself, Diana, 
if you've made up your mind. It isn't easy for me 
to back down ; you're wrong but you're stubborn. {He 
goes close to Mrs. Dawson and pats her) Painting 
paper dolls with a change of clothes when I might 
have been sending Diana the money without ever 
feeling it ! No more of that, Belle ; you've got to stop 
your painting, understand? 

Mrs. Dawson 

{Startled) 
Stop my painting? 

Dawson 
Yes; I don't intend having you get sick with work. 



82 NOWADAYS 

Mrs. Dawson 

(Starting to protest) 
But 

Dawson 

(With finality) 

You don't have to any longer ; I won't have it, either. 
That's one thing I draw the line at. Fll lock up. 

(As he goes up he turns out the switch in back; 
the room is in darkness, save for the moonlight 
upon the two women seated together, the faint 
glow from the fire, and the soft light in back 
hall, Diana has been watching Mrs. Daw- 
son intently with a sudden realization of all 
the painting has meant to her.) 

Diana 

( Taking her hand in great love and understanding 
throughout) 

Mother! 

Mrs. Dawson 

(Quietly gazing before her, unheard by Dawson, who 
has momentarily gone off in back) 

At the Art school Mr. Hardman said I had a lovely- 
sense of color. Your father is so kind, but he doesn't 
know how much I enjoyed painting again— even those 
little paper dolls. 



NOWADAYS 83 

Diana 

{Slowly and with wonder) 
Mother, you too!! 

Mrs. Dawson 
Yes; like you. 

Diana 

Oh, dearest mother, now I understand. All these 
years you've never wanted to give up your painting? 

Mrs. Dawson 
I'm lonely here. 

Diana 

And now he's taken it from you again. That's 
cruel— cruel. 

Mrs. Dawson 
Your father doesn't understand. 

Diana 
Then we must make him. 

Mrs. Dawson 
I don't think I could. 



84 NOWADAYS 

Diana 

I'll help you. Oh, he shan't take your little painting 
from you if it makes you happy — he shan't. 

Mrs, Dawson 

It's too late for me to enter my garden. The door 
has been shut too long. 

Diana 

(With determination) 
To-morrow; you and I will open the door again. 



Sh! 



Mrs. Dawson 
(Hearing Dawson) 

(Dawson re-enters to the door in back with a 
lighted candle: he has put out the hall light,) 



Dawson 

{Looks at them a second) 

Good-night. Painting? Huh! Well, thank good- 
ness, I've been able to settle that foolishness! Huh! 

{He turns, shaking his head, and as he goes 
slowly up the stairs the two women draw closer 
together in the moonlight.) 

[after a silence the curtain falls slowly.] 



ACT II 

HIS WIFE 



1h 



ACT II 

The Same Scene. The Next Morning, Sunday, 

( The Curtain goes up with Diana humming as she 
surveys the room, with a definite intention, Nellie 
enters from the little stairs with a tray,) 

Diana 
Betty was^ awake ? 

Nellie 

Yes, she'd only take coffee and rolls. She told me 
to tell you she wouldn't get up for a while yet. 

Diana 
{In gay spirits) 
Ever feel like dancing, Nellie? 

Nellie 
Me? 

Diana 

I have all morning. 

87 



88 NOWADAYS 



Here? 



Yes, even here. 



Nellie 
{Astonished) 

Diana 



Nellie 

What would Mr. Dawson say if I took up dancing? 
What are you doing? 

Diana 

Sh! Nellie! {Whispering as she takes the terra- 
cotta and places it on desk in back) We're raising the 
Devil. 

Nellie 
Has your father said you could? 

Diana 

No, but mother has. And this is her home, too, 
you know. Now help me push the things about. 

{While they are talking, much to Nellie's 
astonishment and in spite of her protestations, 
they take the cover off the table, which they 
push over to the window. Nellie folds the 
cover carefully, etc. DiANA delighted. 

Dawson enters in back. He gazes at them 
in astonishment.) 



NOWADAYS 89 

Nellie 
Oh, Lord! 

Dawson 
Would you mind telling me what you're doing? 

Diana 
(Not stopping) 
Trying to please mother, daddy dear. 

Dawson 
Your mother? 

Diana 

Yes. She's tired of having the place just so. 
Thought we'd change it about. 

Dawson 

{Sits down) 

Well, I'll be (Sarcastically) Hope I'm not 

interrupting you. 

Diana 

Not at all. I was asking Nellie what time she got 
to bed last night. 

Nellie 
Eleven o'clock. 



go NOWADAYS 

Diana 
What time did you get up? 

Nellie 
Six. 

Diana 
(Mock tragically) 
Daddy, Nellie's working eighteen hours a day, 

Dawson 
What do you think this is, a Union Shop? 

Diana 

That depends on how much you pay her. 

Nellie 
Twenty dollars a month. 

Dawson 

With board and keep. 

Diana 

I was just wondering how you stand it, Nellie. 
Why don't you have another girl to help her out ? 

Dawson 

If you were at home long enough to get acquainted 
you'd know your mother does that. 



NOWADAYS 91 

Diana 
But mother i*sn*t going to do that any more, dad. 

Dawson. 
Eh? 

Diana 

She's promised me she wouldn't. {Whispering com- 
ically) She's going on a strike. 

Dawson 
A strike? 

Nellie 
Sure, this isn't a factory. 

(Nellie takes off the tray in back and returns,) 

Diana 

It's worse. It's an old-fashioned home. {Bur- 
lesquing) Where father comes at night and mother 
works all day. 

Dawson 
Is that one of those popular songs? 

Diana 

It*s very popular just now. I hummed it to mother 
last night. It's the Woman's Pilgrim Chorus. 



92 NOWADAYS 

Dawson 

So you're trying to put some new-fangled ideas into 
her head, too? 

Diana 

No. I'm only urging mother not to give up her 
painting. That's not so terrible, is it ? 

Dawson 
But she doesn't have to paint now. 

Diana 

Yes, she does: to be happy and make you happy. 
{Hugging him) Oh, if you only knew that, daddy 
dear. And she needs the north light, so she'd like 
to paint down here. And I'm honoring my fifth com- 
mandment, as you told me I always should. 

Dawson 
But 

(Mrs. Dawson enters with paints and palette 
in her hand. They look at each other; she 
smiles sweetly at him.) 

Mrs. Dawson 
You're back early this morning, Will. 

Dawson 
You've apparently forgotten it's Sunday. 



NOWADAYS 93 

Mrs. Dawson 

So it is. I felt so happy. 

{She places the things on the table as he watches 
her, puzzled.) 

Diana 
Better bring down the rest of mother^s kit, Nellie. 

Mrs. Dawson 
You will find it all together, ready. 

Nellie 
{As she goes upstairs) 
I often wondered what a strike was like. 

Dawson 
Belle? 

Mrs. Dawson 
Yes, dear. 

Dawson 
, {Puzzled) 

Do you like to do this? 

Mrs. Dawson 
Yes, Will. 



94 NOWADAYS 

Dawson 
Well, I suppose if you like it ; but 

Mrs. Dawson 
But what? 

Dawson 

You're pretty old to be taking up those tricks 
again. We'll have a talk later. Is Sammy up yet, 
Diana? 

Diana 

No, he's resting after his hard day's work. He's 
got another heavy day ahead of him if I'm not mis- 
taken. 

Dawson 

H'm. I'd better call him. Matters appear to be 
going all to pieces here. 

{He goes upstairs, slowly shaking his head.) 

Diana 

{Gaily at table) 

Cardboard, brushes, thumb tacks, blotters. 

{Noticing Mrs. Dawson, who has seated her- 
self in chair, lost in thought. She goes to her 
and they play the following with greatest affec- 
tion and syfnpathy.) 

What is it, mother dear? 



w 



r NOWADAYS 



95 
Mrs. Dawson 



Is your father right? Am I too old? Am I mak- 
ing myself ridiculous? 

Diana 

Nonsense, mother dear. Too old to try to be com- 
pletely happy? Why, dearest, who could laugh at 
you? 

Mrs. Dawson 
I've accepted so many years the way things are. 

Diana 

To-day ushers in a new era in the home of Dawson 
and Wife. 

Mrs. Dawson 
I'm fifty, Diana. 

Diana 

(Buoyantly throughout) 

Nonsense, mother. You're a girl — my age — ^with 
wonderful roses in your cheeks. I saw them last night 
when they bloomed to meet dad's love, and when 
we sat before the fire and you told me of the dreams 
you once had when you were working to be some- 
thing, as I am working now. Why, dearest mother, 
your ambition has never left you. (Playfully) You 
get that from me. 



96 NOWADAYS 

Mrs. Dawson 

(Smiling) 

I'm fifty. It's hard to break from the habit of a 
lifetime. 

Diana 
To go back to its early dreams? 

Mrs. Dawson 
(Timidly and sweetly) 
Do you think I could? 

Diana 

(Emphatically) 
Yes, and you will. 

Mrs. Dawson 
(Wistfully) 

I've always wanted to paint, but I'm afraid the 
fingers have lost their skill. The hands are not so 
steady and the eyes are tired. But I feel it just the 
same. I don't think your father would let me study 
again here. You don't know him. 

Diana 
He doesn't know my mother. 

Mrs. Dawson 

She doesn't know herself. Diana, (Drawing her 
close and speaking very sweetly) is it so terrible for 



NOWADAYS 97 

a wife to want to leave home sometimes and be with 
her daughter? 



Diana 



Mother! 



Mrs. Dawson 
(Quickly) 
Don't misunderstand me, child. I love your father. 
He's been kind and good in his way. But I get so 
lonely for you — ^just for you, dear. 

Diana 

(Hugging her) 

And I want you so. It gets so lonely for me up 
five flights and no one to tuck up to when things go 
wrong. 

Mrs. Dawson 

Wouldn't it be wonderful, dear, if — if we could 
be together again? 

Diana 

Do you wish me to come back? 

Mrs. Dawson 
(Quickly) 
No, no. I wouldn't have you give up your work 
for the world. I love to think of you way oif 
there 



98 NOWADAYS 

Diana 

{Gaily) 
Up five flights of stairs, a studio, and a tiny bed- 
room, thirty dollars a month? Cooking on a rickety 
gas stove, but with a glorious north light and a view 
of the white marble tower reaching up toward Heaven ? 

Mrs. Dawson 

They didn't have such high towers in my day, but 
we dreamed the same way. And, Diana, I want to 
confess something. I've never stopped dreaming. I 
live my own days over thinking of you. But a mother's 
arms get so lonely when the children go. 

Diana 

They always go, don't they, mother? {With a 
sudden thought) Unless the children take her along 
with them. Mother, why don't you come to me for 
a long visit? 

Mrs. Dawson 

I told you last night I don't think I really could 
leave your father. 

Diana 

Even to be with your daughter? 

Mrs. Dawson 

Oh, Diana, I'd love to be with you for all It would 
mean to me; but your father wouldn't let me go for 
a long visit. 



NOWADAYS 99 

Diana 

He tried to crush everything out of me with his 
blindness and lack of understanding. Now he under- 
stands better. He wouldn't let me go, but I followed 
my heart's desire. 

Mrs. Dawson 
I told you I was fifty. 

~^ Peter 

{Outside J tapping on door) 
May I come in, Diana? 

Diana 

(All confused) 
Peter! 

Mrs. Dawson 

(Realizing completely her love for Peter) 

" Your heart's desire." Diana, then it is true? You 
and Peter? 

Diana 

{Kissing her mother) 

He's never said a word. He'll never take me from 
you, dear ; he doesn't think an artist should marry. 

Mrs. Dawson 
{Gazing before her) 
Men are so different. 



loo NOWADAYS 

Peter 

{Opening the door) 

Please may I come in? Good-morning, Mrs. Daw- 
son. 

(Peter comes in. Mrs. Dawson goes to him, 
takes both his hands, looks into his astonished 
eyes J and then starts towards the little stairs.) 

Mrs. Dawson 
(Quietly) 
m see if Betty needs anything. 

(Mrs. Dawson goes out.) 

Peter 
(Puzzled by her manner) 
What's up? 

Diana 

Rebellion. Behold! the terra-cotta's moved, and 
mother's on the warpath. 

Peter 
(Astonished) 
Your mother? 

Diana 

Father's only wife, yes. 



NOWADAYS loi 

Peter 

Good for her. The way she looked at me I 
thought 

Diana 



What? 



Peter 



Oh, I don't know. As though I'd stolen something 
from her. 

Diana 

Maybe that's it, Peter. 

Peter 
You didn't tell her I spoke of the statue? 

Diana 

No; it wasn't that, 

Peter 
Then you knew why she looked at me that way? 

Diana 
Don't you, Peter? 

Peter 
I wouldn't dare tell you what I thought. 



I02 NOWADAYS 

Diana 

{Frankly and without coquetry) 
Go as far as you like, Peter. 

Peter 
(Smiling) 
That's how a man gets in trouble. 

Diana 

Are you afraid of getting in trouble? 

Peter 
A man doesn't get in trouble alone. 

Diana 
There's a woman in it? 

Peter 
Like your statue. 

Diana 

Yes. And there's room for it. Like the statue. 

Peter 

{Puzzled) 
Room for it? 



NOWADAYS 103 

Diana 

Yes. I walked into town early this morning and 
looked at the pedestal. There's room for my statue, 
Peter. I'm going to try to do it. 

Peter 
I'm so glad there's room. 

Diana 

{With feeling) 

For more than a statue, Peter. Every pedestal in 
the world has room for something we can worship and 
love. 

Peter 
Something beautiful, like a woman's heart? 

Diana 

{Looking up at him with frank love) 
a man's. 



Or ' 



Peter 

{Gazes at her, after a slight pause, with the same 

expression) 

Isn't this funny talk for eleven o'clock in the morn- 
ing? {They laugh and turn from each other.) Has 
Sammy broken the news to them? 



104 NOWADAYS 

Diana 
He*s not up yet. 

(Re-enter Mrs. Dawson.) 

Mrs. Dawson 

Peter, why didn't you tell me? Nellie says Mr. 
Hardman drove out with you. 

Peter 

{Nonplused) 

I clean plum forgot it. And he's got to make the 
noon train. 

Diana 

Bring him out of that horrible plush parlor right 
away. Don't wait to say anything funny. Go! 

(Peter exits in back, Mrs. Dawson has been 
standing, lost in thought.) 

Mrs. Dawson 
It*s been over twenty-five years. 

Diana 
And Mr. Hardman liked your painting? 

Mrs. Dawson 

Yes. He was so kind. Now he'll see you as I was. 

{Enter Oliver Hardman, followed by Peter, 
who joins Diana. 



NOWADAYS 105 

Oliver Hardman is in the late sixties, still 
full of physical vigor and possessing a great 
charm of personality. His speech is soft in 
accent but sure in meaning. One feels his 
human understanding, for life has apparently 
brought its full share of disappointments,) 

Hardman 
{Coming to Mrs: Dawson), 
And this is Belle Patterson? 

Mrs. Dawson 
{Sweetly) 
The same. I'd have known you anywhere. 

Hardman 
Have the years changed me so little? 

Mrs. Dawson 
TheyVe brought you fame and gray hairs, 

Hardman 
I couldn't help the latter. And they've brought 



you? 



Mrs. Dawson 
Me? 



io6 NOWADAYS 

Hardman 

{Looking about) 

Happiness, home, and children. You are very fortu- 
nate. 

Mrs. Dawson 

YouVe met my daughter Diana? 

(Diana comes forward. He takes her frank, 
open hand and holds it a moment, gazing at 
her with a sweet smile on his lips,) 

Hardman 

That*s strange. You gave me your hand just like 
your mother used to when she was your age. 

Diana 

{Impulsively) 

I knew from last night I'd fall in love with you 
at first sight. {He laughs adinonishingly,) 

(Mr. Dawson enters down the small stairs.) 
YouVe met dad? This is Mr. Hardman, father, who 
has been so good to mother. 

Dawson 
{Restrained) 
How do you do? Sit down. 



NOWADAYS 107 

Hardman 
( Good-naturedly ) 
I can only stay a moment, thanks to Peter Row. 

Peter 
Guilty. 

Hardman 

But first let me congratulate you, Mr. Dawson, on 
getting the contract at the Capitol. 

Dawson 
{Quickly) 
They took my bid? 

Hardman 

The general contractor was an old friend. I was 
with him this morning. Your bid and Tenner's were 
the same. He asked me If I knew you {significantly) 
and I think the coin will fall on your side. 

Dawson 

{His entire manner changing to one of pleasure) 

Thank you; have a cigar. My plumbing supplies 
are the best. 

Hardman 

I'm not smoking just now. I really came out, 
through a sentimental whim, to see Mrs. Dawson and 
to ask If she still had a picture she once painted. 



io8 NOWADAYS 

Dawson 
{Manner changed) 
Oh! 

Mrs. Dawson 
{Surprised) 
One of my pictures? 

Dawson 
{Loftily) 
She gave up painting when she married. 

Diana 
{Mischievously ) 
That's father's little joke, Mr. Hardman. 

Mrs. Dawson 

Which painting was it ? 

Hardman 

Just a water-color sketch — a seashore — a bit of 
green and a tree. You see how well I remember it. 

Mrs. Dawson 
{Brightening and with interest) 
I have that yet. 

Hardman 
Might I see it again? 



NOWADAYS 109 

Mrs. Dawson 

Let me have the keys, Will. 

(Dawson gives her the keys, not pleased with 
the situation J as she goes to the bottom drawer 
of desk and takes out a portfolio containing a 
number of cardboard water-color paintings, 
Diana helps her enthusiastically.) 

Hardman 
{To Dawson) 
Your wife had a splendid talent, Mr. Dawson. 

Dawson 

{Dismissing it) 

Yes, yes. And she's a good wife and mother; that's 
better. 

(Hardman smiles, and begins to understand 
the situation. Diana brings down the paint- 
ing to Hardman. He gazes at it a long 
while.) 

Hardman 
{Tenderly) 
Yes; that's it. 

Diana 

{Looking over his shoulder) 

It is lovely, isn't it? Why didn't you show it to 
me before, mother? 



no NOWADAYS 

Mrs. Dawson 

{Naively) 
Somehow I hated to look over them again. 

Hardman 
More than lovely! 

Diana 

Come; just look, daddy. 

Dawson 

{Looking at it) 

You can see a tree like that anywheres. Why paint 
a thing when you can photograph it so much quicker? 

(Hardman gives a quick glance at Dawson 
and then at Mrs. Dawson, who looks down 
as Mr. Hardman realizes Dawson's opposi- 
tion,) 

Hardman 
I suppose you wonder why I wished to see this again ? 

Mrs. Dawson 
Fd like to know why? It was my favorite, too. 

Hardman 
{Half smiling at himself for telling) 
Well, I will tell you. 



NOWADAYS III 

Peter 
Is this for publication? 

Hardman 
{Laughing) 
I'm afraid not: it's the truth. 

Dawson 
You're never safe with these newspaper men. 

Diana 

Anything beautiful is safe with Peter. (Hard- 
man senses the situation between Peter and DiANA.) 
Tell us, Mr. Hardman. 

Hardman 

When you've got white hairs and have to catch 
trains, you're not afraid of talking about yourself and 
feelings, eh, Mr. Dawson? 

Dawson 
How should / know? 

Hardman 

{Looking at picture) 

The background is good. The pinks and blues of 
the sky melt together, and the horizon line is lost in 
the haze, as it should be. Suggestion. The secret of 



112 NOWADAYS 

beauty. You can't tell where the sea ends. The 
infinite space of it. The foreground is a bit soft — too 
sketchy. I think the tone of the green is not quite 
true. 

Mrs. Dawson 
It has faded a trifle. 

Hardman 

{After a quick glance at her) 

But the tree, dull, dark, leaning away frcfm the 
winds that you feel have driven over it for years! It 
stands so alone without a leaf. How did you ever 
manage to catch the sense of its being so utterly alone? 

Mrs. Dawson 

{With simplicity) 

Why, I just imagined what it must be like — to be 
there with only the winds and the sea. 

Hardman 

{Smiling) 

I remember the day when you showed it to me, do 
you? 

Mrs. Dawson 

{Recalling with enthusiasm) 

Yes, at the studio. It must have been a mood I 
was in that made me paint it. 



NOWADAYS 113 

Dawson 

{Complacently) 

That was before she married me. Women get 
lonely when they're not yoked. 

Hardman 
( Sm iling good-naturedly ) 
Only then? 

Dawson 
(Pointedly) 
Are you married? 

Hardman 

(Smiling) 
Not yet. 

Dawson 
(Settling back complacently in his chair) 
It's hard for outsiders to understand marriage. 

Hardman 

(Referring to painting) 

But I do know how this " yoked " itself in my mind. 
Fve never forgotten it. It's always come up before 
my eyes when I — I felt utterly alone. (More seri- 
ously) And it taught me the beauty of sadness — of 
how art can speak to the soul when life about is dead : 



114 NOWADAYS 

of what beauty there may still be in a life without 
a live branch or a leaf — if only — if only we all are 
artists enough to — how shall I say? To live beauti- 
fully. Do you understand? 

Diana 

(Radiantly) 
I do. 

Hardman 
(Smiling) 
You? One so young? 

Diana 

You mean it made you live better? 

Hardman 
(Admitting it) 
How did you know that? 

Diana 

(Fancifully, as she and Hardman gaze at the picture) 

Maybe one of the little birds flying just outside 
of the picture told me. 

(Dawson squirms uneasily in chair as Nellie 
enters with Mrs. Dawson's paint boxes. He 
sees them,) 



a 



xV^ 



Xj« 



NOWADAYS 115 

Dawson 
{Sarcastically) 
/Are you taking up painting, too, Nellie? 

Nellie 

What's come over this house? Dkna wanted to 
know if I was taking up dancing. 

/ Dawson 

/ 

/ What are those paints and brushes doing here? 

Mrs. Dawson 
{Turning from Hardman, who observes) 
They are mine, Will, you know. 

Diana 

Mother's going to study again. Didn't I tell you? 

Dawson 
{Controlling himself because of Hardman's presence) 
Oh, I forgot. 

Hardman 
{Half admonishingly to Mrs. Dawson) 
Had you let your painting go entirely? 

5 Mrs. Dawson 

I {Cou rage ously) 

\ Yes. But do you agree with Mr. Dawson: that 
\ I'm too old to get back where I was? 



ii6 NOWADAYS 

Hardman 
Not if the hand hasn't lost too much with the years. 

Mrs. Dawson 

{Looking at Dawson) 

I thought I might try. Your words have made 
me sure I must. 

Dawson 
Must? 

Hardman 

You can always count on my help, if you and Mr. 
Dawson should come to the city for models or study. 

(Dawson squirms uncomfortably.) 

Diana 

{Quickly) 

Oh, daddy; isn't Mr. Hardman a good friend to 
help mother with her painting and you with your 
plumbing ! 

Dawson 

{Drily) 

Thanks. When we come we'll be glad to have ft. 

Diana 
{With vivacity) 
Daddy, I didn't know you'd consent. 



NOWADAYS 117 

Dawson 

Consent? 

Diana 

And I won't have to live there alone, away from 
mother and you. 

Hardman 
That's so. You are living there alone now. 

Diana 

Yes. Father's helping me. (Dawson squirms in 
chair.) 

Hardman 

That's splendid of you, Mr. Dawson. It's seldom 
that fathers of our generation underst,and the needs 
of their children. 

Diana 

(Mischievously) 
That's what daddy says. 

Hardman 

So few husbands and fathers realize like you how 
much richer the home becomes when there is a great 
interest in something outside it to talk over. 

Dawson 
Exactly. 



ii8 NOWADAYS 

Peter 
{Aside to Dawson) 
Bully for you. 

Dawson 
Rot! 

Hardman 

{To Diana) 

Mr. Row's very enthusiastic about your ability. 
You must let me help you like your father. (Looking 
at watch) I'll be late. 

Peter 
(To Dawson) 
Can I make a news item of your going to the city? 

Dawson 
(Aside to him) 
You do, and I'll sue you for libel. 

Peter 
What about the plumbing? 

Dawson 
Damn the plumbing. 

Peter 
I hope it isn't as bad as that. 



NOWADAYS 119 

Mrs. Dawson 

{Shaking Hardman's hand as he has turned to say 

good-by to her and Diana) 

Fm sorry you must go. 

Hardman 
Trains have no sentiment. 

Diana 

Thanks for your words to mother. {Significantly) 
They came just when they were needed. 

Hardman 
( Understanding) 

Indeed? Then I am glad there was a reason for 
my coming out. One never knows where one's tiny 
pebble will ripple, eh ? 

Diana 

Show him out, too, daddy. {Whispers comically) 
And, Mr. Hardman, close your eyes when you go 
through our red plush parlor. 

Hardman 
Good-by, till we all meet together in the city. 

Dawson 
{In a business-like tone as he goes up to Hardman) 

Is there any truth in the story that they're going 



I20 NOWADAYS 

to remodel the County Court? Their plumbing's in 
a frightful way, I am told 

(As Mr. Hardman smiles, he and Dawson, 
followed by Mrs. Dawson, go out, leaving 
door open. Peter starts to follow, when Sam 
enters down small stairway. There is a pause 
as the three see one another.) 

W Diana 

You'd better hurry, Peter. He'll miss his train. 

Peter 

Good-morning, Sammy. I see! Sammy's going to 
break the news to his father about Betty, eh? 

Diana 

z"-^" ( Significantly ) 

/ Yes. Now. 

(Sammy has flung himself into the chair.) 

Peter 

Hope your father is having a pleasant Sunday. 

(Peter goes out. Diana closes the back doors 
and comes down quickly to Sam.) 



\ A Diana 

\ They'll be right back. Shall I call Betty? 

V 



NOWADAYS 121 

Sam 
(Starting up) 
What business is it of yours, Diana? 

Diana 

Some of us must be decent to her. She*s married 
into the blessed family. 

Sam 
I get you. You think I'mi a cad. 

Diana 
I didn't know I'd said it. 

Sam 

Well, wait till you get a wife. {She laughs.) Oh, 
you don't realize what this means to me. 

Diana 
Do you? 

Sam 

Yes. I've got to stay here if father knows. Think 
of that! I'm married and I've got to be punished in 
the bargain. 

Diana 

And Betty? 



122 NOWADAYS 

Sam 
{Selfishly) 
What about me? 

Diana 
" Dawson & Son " for yours. 

Sam 

Not yet a while. I've got a scheme on that needs 
me in the city. Oh, you'd laugh if I told you; but 
it will make me a lot of quick money. Father said 
he'd carry me for another year. I'm not going to stay 
here and give that the slip if I can help it. 

Diana 

(Slowly) 
So you won't tell dad till that comes off? 

Sam 

( With determinatto n ) 

That's just what I mean. I can fix Betty. I'm 
paying her bills. 

Diana 

*"°WiStch the husband nerve jerki I thought dad 
was. 

Sam 

It comes out of my good allowance. All you do is 
to keep still. I guess Peter Row will hold his tongue 
if you do, the way it looks. 



NOWADAYS 123 

Diana 

{Measuring him) 
And then you'll make it all right with Betty? 

Sam 

Haven't I made it all right by marrying her? All 
she wants is to be kept. Money will fix most skirts 
and petticoats and clinging vines like her. And re* 
member you can't make me live with her. 

Diana 

Sam, you'd be funny if you weren't so — so rotten. 
/ (She goes to the little door of the small stairs and 
calls) Betty! Betty! 

Betty 
{Off) 
^Yes. I'll be down in a few moments. 

\ (Diana closes the door,) 

Sam 
{Going to her nervously) 
What's your game? 

Diana 

You're fairly good-looking as men go. Dressed in 
perfect taste, and the ring on your hands is a beauty. 
But it's all borrowed plumage. What have you done 
to earn it? Ever done a stroke of honest work? Ever 
dug a ditch or added anything more than your debts? 



124 NOWADAYS 

Sam 
^ruck! 

Diana 

You had everything done for you because you were 
a man. But do you know what you remind me of? 
A weak, clinging vine of a woman. 

Sam 
{Insulted) 
What? 

Diana 

Yes. A female parasite. Like those who wear dia- 
monds and fine gowns, and who never give back to 
society the things their grandfathers took from it. 
You're like that, only you wear trousers. You say all 
Betty wants is to be kept. Isn't that all you're after, 
too ? The kind of petticoats you say can be fixed with 
money applies to you, too, Sammy, for like many a rich 
man's son you're wearing petticoats in your soul. 

Sam 
What are you giving me? 

Diana 

(Going to him affectionately) 

I used to look up to you, Sammy. You were my 
great big brother. Don't make me look down on you. 
Don't! 



NOWADAYS 125 

Sam 
None of the soft stuff. 

Diana 

{Putting her hands on his shoulders and speaking with 
great sincerity and emotion). 

Betty's a dear: but she's weak and not able to fight 
the world like some of us. For three wonderful years 
she's loved you, married you, kept silent, done all 
she could to meet your wishes. And what have you 
made of yourself? (He listens in spite of himself,) 
Shouldn't love make us all better when it comes? 
{Thinking of Peter) Even if — if it never brings 
together the people it should — even if a girl waits and 
waits and she finds she must live her life alone: still 
love should make everything more beautiful, even if 
it never finds words. {Pause.) But you and Betty 
have each other and 

Sam 
{Brutally) 
I'm sick to death of her. I don't love her. I made 
a damn fool of myself marrying her. Now you know 
the truth. 

Diana 

{Astonished) 
Sam! 

Sam 
Yes. 



126 NOWADAYS 

Diana 
( Incredulously ) 
Yet you've been going to see her right along as 
though you loved her? 

Sam 
{Sarcastically) 
Well, she's my wife, isn't she? 

Diana 
{Recoiling in disgust) 
Sam!! 

Sam 

Now let me handle this. If you don't, I'll tell her 
I don't love her. See? I guess you wouldn't want 
to be the means of breaking her heart? 

Diana 
{Gazing at htm) 
Are you sure you two are married? 

Sam 
Why? 

Diana 

{Slowly) 
I almost vin'sh for Betty's sake she could find there'd 
been some mistake. 

{The door opens and Betty stands there. 
In the pause she gazes bewildered at Sam.) 



NOWADAYS 127 

Betty 
{With a certain hysterical strength) 
Diana, will you please call your father and mother? 

Diana 

{Slowly) 
Do you want to be alone with him first? 

Betty 

No. Call them. 

Diana 

{Opening the door in back and leaving it open) 
Father! Mother! Will you come here? 

Betty 
{Crossing to Sam, quickly) 
Now tell them, Sam. 



Betty, listen. 


{Protesting) 




Betty 


Tell them. 


{Firmly) 


But 


Sam 



128 NOWADAYS 

Betty 
(In a loud burst of mingled power and pain) 

You've got to tell them, understand? You've got 
to tell them. 

Sam 
{Starting back in astonishment) 
Betty! 

Betty 

{Hysterically J as she puts her arms about him so that 
the others will see as they enter) 

I can't leave you now. You've got to tell them. 

(Dawson and Mrs. Dawson enter and see 
them together. Betty gives a cry — having ac- 
complished her purpose — and then sinks back 
into the chair, hiding her face. Diana goes 
sympathetically to her. Dawson comes down 
and stares at them in astonishment.) 



Dawson 
{Forcefully) 



Well? 



Diana 

{Appealingly) 
Father, Sam was afraid of what you might do be- 
cause he didn't consult you. Betty kept silent as he 
wished. They've been married three years. 



NOWADAYS 129 

Dawson 

(Astonished) 

Married! (He sits in the chair and eyes them 
grimly,) 

Mrs. Dawson 
(With a cry, going protestingly to Betty) 
No, no! 

Betty 
(Looking up at her quickly) 
Don't you want ft, either? 

Mrs. Dawson 
(Confused) 
Oh, dear Betty, if I'd only known. 

Betty 
You think I'm no good? 

Mrs. Dawson 

No, no. But you had no one to talk it over with. 
Marriage isn't what you think. 

Diana 

(Realizing her words and looking at DawsON, who 

has given a quick, questioning glance at 

Mrs. Dawson) 

Mother! 



I30 NOWADAYS 

Mrs. Dawson 
There, there, Betty ! It took me all of a sudden. 

Betty 

{Weakly again j her strength gone) 

Please don't let your father be hard on me, Diana. 

Diana 

{To Sam, who has been standing by the window) 
Haven't you anything to say to your father, Sam? 

Sam 
I'm not feeling vefy talkative. 

Diana 

Father ? 

Dawson 
( Grimly, as they all eye him, after a pause) 
Afraid I wouldn't like it, eh, Sam? Well, that's 
where you're mistaken. 

Sam 
You don't mean to say you're pleased? 

Dawson 

{Firmly) 
That's exactly what I mean. 



NOWADAYS 131 

Sam 

(Completely astonished as he sinks into chair) 
Oh, good Lord! 

Dawson 

So I've been keeping you both, eh? Well, it's 
about time you earn enough to keep her. (Sam starts 
to protest.) A husband has got to support a wife. 
That's the law, and it's right. So I'm not going to 
cast you both out. No. I'm going to be generous 
and giv.e you the opportunity to support her. 

Sam 
Plumbing supplies? 

Dawson 

Exactly. And right here in town, too. That's 
where you stay. You can have your friend Peter Row 
announce it, Diana. 

Mrs. Dawson 

{To Dawson) 
And Betty? 

Dawson 

She'll come here and stay with her husband, where 
she belongs. 

Mrs. Dawson 
{Startled) 
Here? In this house? 



132 NOWADAYS 

Dawson 

Yes. Just like you and I did, Belle, when we 
were married. (Mrs. Dawson is deeply moved.) 
Does that please you, Betty? 

Betty 

I don't care where I live so long as I am taken 
care of. (Diana comforts her.) 

Dawson 

That's the good old-fashioned way of looking at it, 
Betty. I'm glad to see some of our young women still 
feel it. So you needn't worry; it's all right. You 
couldn't have picked a better girl, Sam. And she can 
help you. Belle. 

Mrs. Dawson 
(Not understanding) 
Help mef 

Dawson 

Yes. Seems as though you made up your mind 
to paint. Well, I haven't any objection now that 
there'll be somebody here with you to help take care 
of the house. Diana's gone and you seem tired of it. 
Now Betty will make it easier for you. 

Mrs. Dawson 
{Emphatically) 
We mustn't ask Betty to do that. 



NOWADAYS 133 

Dawson 



Mustn't? 



Mrs. Dawson 

No! You must help them some other way. They 
have the right to start right. 

Dawson 
(Banging his hand down) 
They'll start the way I say. I'm paying the bills. 
Don't you see what our home influence will do to Sam ? 

Mrs. Dawson 

Do you see what it will do to Betty? Why, Will, 
they ought to have a home of their own. 

Dawson 
(Surprised) 
With this big house? 

Mrs. Dawson 
(Clearly) 

It's too small for a new family. She ought to have 
a place of her own, do her own work for Sammy and 
herself ; not for you and me. Why, Will, she'd never 
feel this was her home. She'd feel as though she were 
a visitor earning her board. Everything she'd do she'd 
feel was because she had to. Everything you gave 
her she'd feel was a favor or like taking pay. 



134 NOWADAYS 

Dawson 

Taking pay? 

Betty 
Oh, I don't care. 

Mrs. Dawson 

{Emphatically) 

But /do. If you really want them to be happy, 
Will, don't ask them to come here and live with us. 

Dawson 
Is this some more new-fangled ideas? 

Mrs. Dawson 
{Almost involuntarily) 

No ; it's only remembering how hard it was for me — 
when I came here to your father's house ! 

Dawson 

{Completely astonished) 
BeUe!! 

{He stands, staring at her.) 

Betty 

{Rising) 

If I only had money of my own I wouldn't be this 
drag. 



■'^, 



NOWADAYS 135 

Diana 
{To her) 
Betty! 

Betty 
(Sobbing, as she goes towards the door) 
That's all it is. Vm poor — poor — and rm Sammy's 
wife and I've got to do as those who own me say. 
Oh, I don't care what becomes of me. 

Diana 

Betty, dearest Betty ! You've always got me. Dear- 
est Betty! 

(Diana puts her arms around Betty, then 
looks back at her father and mother, and follows 
Betty off, closing the door,) ^ 

Dawson 
{Controlling himself) 

Sam, leave your mother and me here alone. We've 
got something more important than your marriage to 
talk over. You and Betty live here, understand? 
When you can earn enough to support her, you can 
do as you damn please. Now you go see Perkins and 
learn something about plumbing. Get out. 

Sam 

Oh, very well. I was a fool to stay home from 
church to-day. 



136 NOWADAYS 

(Sam goes out the center door, closing it. They 
wait till he has gone. Then Dawson eyes 
Mrs. Dawson, who has gone to the chair,) 

Dawson 

Now, Belle, I'm trying to keep my temper this 
morning. What's all this stuff you've been talking 
mean? 

Mrs. Dawson 
(Nervously) 
Not now, dear. 

Dawson 

(Firmly) 

You said things to Betty just now that seemed 
mighty pointed at me. 

Mrs. Dawson 
I didn't quite know what I was saying, 

Dawson 

When we're not watching our words we speak the 
truth. 

Mrs. Dawson 
I tell you I'm upset.. 



NOWADAYS 137 

Dawson 

But you were calm enough when Hardman was 
here talking pictures. 

Mrs. Dawson 

{Brightening) 
That took me hack, Will. 

Dawson 
{Sneering) 
To your poverty. 

Mrs. Dawson 
And my hope. 

Dawson 

{Emphatically) 

That's all it was, hope. Don't forget that. It's 
bad food when you're starving. 

Mrs. Dawson 
We don't need hope when we are happy. 

Dawson 

But you gave up hope when you married me. {She 
smiles tolerantly, in spite of herself.) I mean your 
work. 



138 NOWADAYS 

Mrs. Dawson 
{Sweetly and not combatively throughout) 

I loved you, Will. It was twenty-five years ago. 
People felt differently then. 

Dawson 

Don't think human nature has changed because a 
lot of unmarried males and females are going about 
saying the home isn't what it was. Why, you never 
even thought there was anything the matter here till 
Diana got after you last night. 

Mrs. Dawson 
{Slowly gaining courage and finding expression) 
How do you know what I've thought? 

Dawson 

I know you've been reading that stuff Peter Row 
writes. That's enough. 

Mrs. Dawson 
I have had time to read. 

Dawson 
Yet you'd like to sacrifice that leisure / give you. 

Mrs. Dawson 
{Shaking her head hopelessly) 
You can't understand. 



NOWADAYS 139 

Dawson 

{Emphatically) 

I understand you can't wear yourself out at painting 
and keep me happy. 

Mrs. Dawson 
{Half smiling) 
Is that all I must think of ? 

Dawson 

If you're not willing to do that much, why did 
you marry me? {Walking back.) Wait till Diana 
gets a husband, and she'll see, too. 

Mrs. Dawson 
Yes, she says it depends on the husband. 

Dawson 
{He stops and then goes to her) 
Belle! 

Mrs. Dawson 
{Looking up sweetly) 
Yes, Will. 

Dawson 

{Not unkindly) 

I've been a pretty good husband since I brought 
you here, haven't I? 



140 NOWADAYS 

Mrs. Dawson 
{Taking his hand affectionately) 
You've been good as you saw it. 

Dawson 

All this you've been saying to-day about going to 
take up your studying again and Betty's marriage 
doesn't mean it's been hard for you, that you've been 
unhappy here? 

Mrs. Dawson 
I've not ceased to love you, Will. 

Dawson 
( Testily ) 
Then what's the matter with you? 

Mrs. Dawson 
{Hopelessly) 
Nothing, nothing. 

Dawson 

Yes, there is. Why, look how even this room is 
upset. What have I done? 

Mrs. Dawson 
Maybe it's what you haven't done. 



NOWADAYS 141 

Dawson 
{Puzzled) 
Can't you speak so I can understand? 

Mrs. Dawson 
{Eyeing him) 

That's what I'm wondering. 

Dawson 

Something's wrong and I know it's not with me. / 
haven't changed. But you have. It's all Diana's fault. 
She's too young to see she's wrong. 

Mrs. Dawson 
You always think the young are never right. 

Dawson 

Well, don't you get any of her new-fangled Ideas 
that a girl can go out into the world and not lose 
something. 

Mrs. Dawson 
{Quickly defending her) 
What has Diana lost? 

Dawson 

{Emphatically) 
She's lost her reverence for her home and me! But 
she'll get over it. She's got her life before her. 



142 NOWADAYS 

Mrs. Dawson 

(Goes to him) 

Will, have you ever asked yourself what have I 
got before me? 



Dawson 
{Halted) 



Eh? 



Mrs. Dawson 

(Gaining confidence) 

Maybe we'd better try to understand each other. 

Maybe this talk's been saving up for years. Will 

(Placing her hand on his arm)y answer me. What 
have / got before me? 

Dawson 

YouVe got a nice, comfortable old age. What more 
does any woman want? 

Mrs. Dawson 

(With a poignant outburst) 

I want something to occupy my life! (He looks 
at her in astonishment.) I'm not old or worn out 
and decrepit. I have my health and strength. I can 
still do things. Yet what can I do? With my chil- 
dren no longer needing me. 



NOWADAYS 143 

Dawson 

But Sammy will be here with you now, 

Mrs. Dawson 
(Bitterly) 
Must I keep on giving to Sammy? {He questions.) 
Three years of my life, before Diana was born, he 
had everything. I watched by his side with all my 
mother's love, through all his illness as a child, gave 
up willingly, bit by bit, everything for him, was his 
slave, as I should be, because he was my baby. And 
then my love followed him when he grew up and 
went away. 

Dawson 
I haven*t denied youVe been a good mother. 

Mrs. Dawson 

Yet I wonder if all the motherhood I gave Sammy 
hasn't been wasted. I might have given it to a child 
on the street with better results. 

Dawson 
(Incredulously) 
Do you know what you're saying? 

Mrs. Dawson 

Yes. It struck me all of a heap as he stood there 
sneering, without an atom of ambition, without a re- 



144 NOWADAYS 

gard for responsibility, without a single day's work 
to his credit, and yet taking into his useless life a 
young girl and expecting her to be happy. 

Dawsgn 
(Dismissing it) 



Wild oats! 



Mrs. Dawson 



Which Betty must harvest! Will, what good was 
all my mother's care if it failed to make a mail of 
him? 

Dawson 
Other mothers I know don't talk that way. 

Mrs. Dawson 
Maybe they've thought it, though. 

Dawson 

You ought to be ashamed of yourself. Do you re- 
gret having Diana, too? 

Mrs. Dawson 

(With love and spirit) 

No, no. Don't you see why she means so much 
more to me? She's like fresh air from the outside 
world I once thought myself part of. She's brought 



NOWADAYS 145 

something back to me that I gave to her. She's 
awakened me. She's what I might have been. She's 
made me feel my motherhood was of use. {Turning 
aside.) But I can't do any more for her. I'm fifty. 
That's what I'm thinking of. {Going slowly to chair 
and sitting down,) I've had my children and they've 
left me. And I sit here, empty-handed, and ask myself 
what am I going to do with the rest of my life? 

Dawson 

{After a pause) 
Aren't you content with me here? 

Mrs. Dawson 
{Turning fondly to him) 
I wouldn*t like to leave you here alone. 

Dawson 
{Relieved) 
Oh, you'd like a change of air? 

Mrs. Dawson 
{Smiling) 
Yes; we both need it. 

Dawson 

{Trying to humor her) 

I've been thinking the last few years we might take 
a little trip somewheres together. 



146 NOWADAYS 

Mrs. Dawson 
{Disappointed) 
A trip? 

Dawson 
Just as soon as I get through these contracts. 

Mrs. Dawson 

It isn't a trip I want. {Abruptly, in a business-like 
fashion) Will, how much are we worth? 

Dawson 
{Completely taken back) 
What's come over you, an5rway? 

Mrs. Dawson 
{Persistently throughout) 
How much money have we? 

Dawson 

{Reluctantly throughout) 

What has this to do with what you said about Betty 
and 



Mrs. Dawson 

You don't have to stay here like so many other men 
in business? 



NOWADAYS 147 

Dawson 

{Proudly) 
I'm my own boss. 

Mrs. Dawson 

{In a kindly spirit) 
You never take me into your confidence about money 
matters, Will. 

Dawson 
The bills are always paid on the third, aren't they? 

Mrs. Dawson 

{Beginning to see the humor in his reluctance, but 
keeping at her intention to find out) 

Hasn't the house increased in value since the lake- 
shore improvements began? 

Dawson 
{Shrewdly) 
What do you suppose I went into the company for? 

Mrs. Dawson 

And the business, with what we've put aside? How 
much is it all? 

Dawson 
I've not figured It out. 



148 NOWADAYS 

Mrs. Dawson 
{Smiling) 
Yes, you have — to a penny. 

Dawson 

(Unwillingly) 

Well, I suppose, all told, I've got about ( Un- 
able to do it,) What's this got to do with what we're 
talking ? 

Mrs. Dawson 
I didn't catch the figure, Will. 

Dawson 

{Reluctantly) 

Well, the Trust offered me $75,000 for the business 
and wanted to pension me with a half-time job in 
New York. I guess in all there's $150,000. 

Mrs. Dawson 
{Pleased) 
We've that much? 

Dawson 
{With a certain pride) 
That's what Fve got. 



NOWADAYS 149 

Mrs. Dawson 

(Figuring it out mentally) 

That's SIX or seven thousand a year income to live 
on. {He eyes her suspiciously.) What are you going 
to do with it, Will? 

Dawson 

Why, it all goes to you and the children when I'm 
dead. 

Mrs. Dawson 

{Leaning over table quickly, and with a certain naive 

joy) 

Will, let's go live in New York. 

Dawson 
{Astonished) 
What! 

Mrs. Dawson 

{Quickly) 

Leave Perkins In charge, and let the business run 
itself. 

Dawson 
Leave the house ? 



I50 NOWADAYS 

Mrs. Dawson 

{Eagerly throughout) 

Nellie can manage it. Sam and Betty can stay here 
alone. Let's give them the chance, too. You and I 
can go to the city and live near Diana. {He gasps in 
astonishment as she speaks with sweetness and per- 
suasion.) Don't keep on making money as though 
there were nothing else. You're tired and worn out. 

Dawson 
{Walking up and down) 
Nothing of the sort. 

Mrs. Dawson 

I know better. You need a change from the 
routine here. You've worked all your life. 

Dawson 
Nonsense. 

Mrs. Dawson 

Oh, Will, let up a little. We can afFord it. Let's 
live now. Really live when we are still alive. We'll 
soon degenerate into a couple of fossils. 

Dawson 
That's a nice thing to say about your husband. 



NOWADAYS 151 

Mrs. Dawson 

We're wearing the same ruts deeper and deeper, 
until we won't ever be able to get out of them. Let's 
make our escape. Let's spend our money now. I don't 
want to wait till you're dead for it. 

Dawson 
{Sarcastically) 
That's kind of you. 

Mrs. Dawson 

{With joyful enthusiasm) 

We can get a small apartment near Diana, and we 
three can go to the theater to hear music and see 
pictures, and I can take up my studies again in a 
small way, and then once in a while we can run over 
with Diana to Paris 

Dawson 
{Overwhelmed) 



Paris! 



Mrs. Dawson 



You asked me what it all meant. There's something 
inside 

Dawson 
You've got it, too. 



152 NOWADAYS 

Mrs. Dawson 

Yes; it's calling me, a middle-aged woman. Maybe 
it's in the air. I don't know. But I must be near 
Diana and get away from all this. 

Dawson 
{He stops J and comes down to her slowly) 
Then you do mean you'd like to leave me? 

Mrs. Dawson 
(Sweetly and with hope) 
I want to take you with me. 

Dawson 
You know I wouldn't do any such damn foolishness. 

Mrs. Dawson 
{Hurt) 
You'd rather have the house own you? 

Dawson 

Will you tell me what I'd be doing while you were 
out all day at the studio, painting? 

Mrs. Dawson 

{Surprised) 

Why, I'm not asking you to give up all your inter- 
ests. 



NOWADAYS 153 

Dawson 
You're not? 

Mrs. Dawson 
{With consideration and understanding) 

I wouldn't ask of you what you asked of me — that 
wouldn't be fair. Perhaps you could open that branch 
office there that you've always talked of — or accept 
the Trust's offer. {He starts away impatiently and 
she restrains him.) It will be enough to keep you 
occupied part of the time with what you like to do, 
keep us near our daughter, and give me a change, also. 
We don't need more money. 

Dawson 

{Bitterly) 

And the rest of the time I suppose I'd be fussing 
about the flat. 

Mrs. Dawson 

{Hurt by his attitude and speaking with strength and 

dignity) 

Yet that is exactly what I do every day here with- 
out anything else, as you have. I'm not asking some- 
thing unreasonable; only to be with Diana and have 
a little more life. Think — think. I stay here and do 
what Nellie and another servant could do, because 
you think that's a woman's place. I help wash the 



154 NOWADAYS 

dishes, see that the beds are made, the meals ordered, 
things kept clean — the same thing over and over every 
day. Then I sit down and vi^ait for you to come home 
tired with making the money we don't need. And 
all that necessary work about the house we could 
afford to pay for. Why, I could make enough money 
myself, out of my little paper dolls, to pay for an 
extra servant. 

Dawson 

You can put it any way you like: you're tired of 
me; you don't love me. 

Mrs. Dawson 

(Moved) 

It's because I love you I'm trying to make you see. 
I'm not forgetting you are the father of my children. 
But I can't keep doing the same things over and over 
till I die. I can't just go on as I have. I'm lonely, 
Will, lonely. I want my work again and my daughter 
more than all else, — my girl to talk to, to be with. 

Dawson 
(Emphatically) 
There's only one way for that. Have her stay here, 

Mrs. Dawson 
And make her sacrifice for me? 



NOWADAYS 155 

Dawson 

That's all there is to it. 

Mrs. Dawson 

No. (He halts and looks at her, as she speaks 
kindly but firmly) I could go to her. 

Dawson 
(Astonished) 
Without me? 

Mrs. Dawson 
(Poignantly) 
What must I do, Will? I love you both. 

Dawson 
So long as I pay the bills you stay with me. 

Mrs. Dawson 

That's marriage. You said it to Betty, you say it 
to me. You look at it through the eyes of money. 
That's what it all seems to get down to more than 
love. Money, money, money! (With determination) 
Well, let's talk money. If I went to Diana, would 
you refuse to support me? 

Dawson 
I have the right to refuse. 



156 NOWADAYS 

Mrs. Dawson 
Is that the law? 

Dawson 
Made by sensible men to protect the home. 

Mrs. Dawson 

Then a home must be in a pretty bad way if a man 
has to tie a woman by his purse strings. Does the 
law give a wife the right to collect back payments? 

Dawson 

Belle, you're ridiculous. You talk as If you were 
my housekeeper and not my wife. 

Mrs. Dawson 

{With feeling) 

If I'd been your housekeeper at twenty-five dollars 
a month you'd owe me three hundred dollars for each 
of the twenty-five years I've lived with you. That's 
nearly eight thousand dollars' worth of service that 
I've put into this house, which has been my home as 
well as yours. Yet the law gives you the right to 
say what I shall do. You can cut me off without 
a penny if I wish to be with my girl, so long as 
you obey the law — without a penny till you're dead, 
because you made the money. Didn't I make money 
for you by saving it? Didn't I do the work of an 
extra servant and gladly do It when we had to save? 



NOWADAYS 157 

If I'd been your housekeeper and living with you, 
I could have sued you for that eight thousand dollars. 
But Vm not entitled to a penny to go with Diana 
because I am your wife. 

Dawson 
{Hardly containing himself) 
You've swallowed a lot of stuff that's not agreeing 
with you. You think you're right because you want 
to do something wrong. You're trying to rearrange 
things that have gone on successfully for centuries 
and you can't do it. The one who makes the money 
shall have the say on how it shall be spent. No home 
is a home without somebody at the head of it, and 
thank God, I'm going to be at the head of mine. 
You've always accepted the way I saw it, or at least 
you never said a word till Diana came back. I saw 
that you had everything and worked myself sick to 
give it to you. You talk of a salary! Why, I paid 
you a dozen times over and 

Mrs. Dawson 

{Poignantly topping his words) 

And I bore you two children, and my heart's crying 
out for Diana. And you won't go with me, though 
you have nothing holding you here, nothing but the 
past. You're forgetting I am a mother as well as a 
wife. 

{She starts towards the small stairs. He is 
halted by her tone.) 



158 NOWADAYS 

Dawson 
(Anxiously) 
What are you going to do, Belle? 

Mrs. Dawson 

(Quietly, as she stands by the door) 

I haven't made up my mind. I've been saying things 
I never thought would come to my lips; yet they all 
seem as though I'd said them to myself even before 
my daughter came back. She has opened the door, but 
I don't know whether I must close it again or whether 
I can go out. I don't know. 

(As she opens the door and starts off, he turns, 
thrusting his hands in his pockets,) 

Dawson 

Well, what the Hell's come over women nowadays? 

(Mrs. Dawson has gone off, closing the door. 
He stands there, puzzled,) 

[curtain] 



ACT III 
MOTHER 



ACT III 

Diana's studio: "New York City, Late following 

September, 

A cheap but pleasant studio up five flights of stairs. 
At the left is the doorway opening on the stairs, which 
are indicated outside by the banister, A dumbwaiter be- 
yond this, with ropes visible when the little door is open. 
In back, at the center, is a doorway opening on what 
is the bedroom beyond. This is indicated to be as 
simple as possible. Up extreme right is the gas stove, 
near a sink, which is concealed by a portable screen, 
Down at the right is an alcove effect, projecting off 
stage, which is obviously used by Diana for her work. 
The clay model of the statue mentioned in the first Act 
is concealed in this, but is invisible to audience. There 
is a wire across the opening of alcove, upon which is 
a pretty curtain attached to rings and easily pulled 
over. This conceals the statue from those on stage 
when desired. On the right side of alcove in back long 
panes of studio glass are seen, reaching obliquely across 
ceiling and part of main room. At rise of curtain the 
sunlight pours through these. Upon the walls are some 
typical sketches and casts. An easel, an unfinished 
canvas pmnting, and sculpturing paraphernalia, etc.; 
candlesticks, kerosene lamp, etc.; a long kitchen table, 

i6i 



i62 NOWADAYS 

with two chairs near the center of the room and a china 
closet in the upper lefthand corner^ complete the fur- 
nishings. The room, with its feminine touches, should 
indicate forced economies, but must not suggest pov- 
erty. 

Mrs. Dawson is seated alone, humming before the 
easel, painting. She seems happy. This continues for 
some time. She looks off from it critically and shakes 
her head and then sits for a moment in despair. The 
buzzer rings and she goes to the dumbwaiter. 

Mrs. Dawson 

{Calling down shaft) 

Hello, is that you, Diana? What's the matter? 

The keys? Which ones? Letters? Wait a second. 

(She gets a letter-box key from her pocketbook, wraps 

it in paper, and throws it down.) Look out! Did 

you get the butter? All right. 

{She closes the dumbwaiter and comes into the 
room, stopping a second, thoughtfully.) 

Letters ! 

{She quickly pulls aside the screen, revealing 
the gas stove and sink. She begins humming 
as she fills the kettle, lights the stove, and pre- 
pares to make tea. Then, still humming, she 
goes to the easel, looks at it, and silently, with 
a sigh, puts it back in corner. She gets cups 
and saucers from cupboard, and places them 
on table. After a pause Diana comes in, all 
out of breath.) 



NOWADAYS 163 

Diana 

Phew! Those stairs! 

Mrs. Dawson 
Wait till you get your breath. 

Diana 

Don't blame people for not dropping in on us. 

Mrs. Dawson 

{Cheerfully throughout) 

Mr. Hardman says it must be like Heaven — splen- 
did when once you arrive. 

Diana 

Speaking of Heaven, mother, I've got seats there 
for to-night's summer opera. (Mrs. Dawson smiles.) 
Isn't it funny, the further down you are in pocket, 
the further up you sit in the theater? 

Mrs. Dawson 

I think Tannhauser had a ballet in my day. Has 
it yet? / 

Diana 

Same old ballet. 









/... 



i64 NOWADAYS 

Mrs. Dawson 

{Smiling) 

I love opera so. It's such a relief to get away from 
the housekeeping, too, isn't it? What did you do with 
the butter? 

Diana 

(Laughing) 
It's wasting away. Did the ice come? 

Mrs. Dawson 

(Indicating her painting) 

Just as I was putting a finishing touch on a " Sun- 
set in Summer." 

Diana 

(Taking butter and going off into alcove) 
I'll save its life. 

Mrs. Dawson 
Did you get the letters? 

Diana 
Yes; one from Peter and 



Mrs. Dawson 
Has your father written yet? 



NOWADAYS 165 

Diana 

{As she comes in and gives her a letter) 

Yes. First time since you've left home he's honored 
us, eh? 

Mrs. Dawson 

{Looking at handwriting) 

Thought he'd forgotten how to spell my name. 
{Seriously) After all these months. 

Diana 

{Shaking her playfully) 
Open it. 

Mrs. Dawson 
Can't I read my love letters my own way? 

Diana 

Why, mother, you're blushing. 

Mrs. Dawson 
Am I? 

Diana 
{Puts her arms about her) 
You do love him, don't you? 



i66 NOWADAYS 

Mrs. Dawson 

Vm sure I don't know why else I have written 
him every week about all we're doing, and asking him 
in every letter to come to us. This must be an answer 
to the one I wrote day before yesterday. 

Diana 

About your going to Paris with me if I won the 
competition ? 

Mrs. Dawson 

Yes. Let's see what he says. (Opens it and reads) 
" Belle : I am coming to see you. You are as stubborn 
as I am." (She is pleased.) 

Diana 

(Drily) 

It seems to run in the family. (Fixing tea together 
and drinking it throughout the following) Wonder 
if dad's coming to eat humble pie? 

Mrs. Dawson 

(Smiling) 
Where can we order it ? 

Diana 

Mother, we can't afford pie and Tannhauser all 
in one evening. 



NOWADAYS 167 

Mrs. Dawson 
(Smiling) 
We've had rough sledding, haven't we? 

Diana 

(Joyfully) 
But on our own snow. 

Mrs. Dawson 

I wonder if your father knows I just couldn't touch 
his check? 

Diana 
Of course, he knows. 

Mrs. Dawson 

(Going to drawer and taking out a legal document) 

Every time I need a good laugh I look at the state- 
ment he drew up when I came here with you. (Read- 
ing) ''Bill of Service. One wife at $25.00 a month 
for twenty-five years — exclusive of gifts for clothes, 
food and masculine protection, $7,500, deposited to 
Belle Dawson's credit for whims, foolishness, and 
Paris." (They both laugh heartily,) 



Diana 
(Hugging her) 



(Hugging her) 

Mother, you're another woman. If he goes with 
you to Paris now, he'll be committing bigamy. 



i68 NOWADAYS 

Mrs. Dawson 

{Slyly) 

A little experience like that might do your father 
good. 

Diana 

Mother, youVe really not a tiny bit sorry you came 
with me? 

Mrs. Dawson 
It's been a wonderful winter. 

Diana 

But youVe missed daddy. 

Mrs. Dawson 

You know I'm put out at him. I was sorry for him 
at first. He expected that to bring me back. But 
now 

Diana 
He's hurt your pride? 

Mrs. Dawson 

How could I go back? Think of it: telling me, 
his wife, I could only come back if I came for good ! 

Diana 

\\ y^ (Mock seriously) 

/ And you've gone to the bad. 

/ 



/ 



NOWADAYS 169 

Mrs. Dawson 
I'm going to Paris with you. 

Diana 

Suppose I don't win the competition? 

Mrs. Dawson 
After you putting your heart in it? 

Diana 
Oh, I don't dare think of failing. 

Mrs. Dawson 

And if you should fail, dear? (She goes to Diana 
sympathetically, and Diana pats her hand, understand- 
ing.) We are not all made for success. But you 
can't fail, dearest. 

Diana 

Father will gloat so if I do. 

Mrs. Dawson , 

{As they put away the tea things) ^ *x^ 

Not at all. If you win he probably will puff up and \ j^/ 
burst with pride. 

Diana 

What a funny spectacle! 



\y 




I70 NOWADAYS 

Mrs. Dawson 

{Abruptly, as Diana laughs good-naturedly 
throughout) 

The more I think of married men, the more I 
wonder why God made so many fools. If they'd only 
treat us like human beings instead of something they 
own! They are all alike. 

Diana 
All except Peter. 

Mrs. Dawson 
He's as blind as your father. 

Diana 

{Comically) 
Mother, how terrible of you! 

Mrs. Dawson 

Your father and Peter are both leading their lives 
without consulting us, yet we're fastened to them both 
by our heartstrings. I made a mistake in expecting 
your father to see. He's too old and near-sighted. 
But Peter 

Diana 

Peter understands women. 



NOWADAYS 171 

Mrs. Dawson 

Yet he has your little heart in his big hand, and 
has he asked you once what you want him to do with it ? 



Diana 

{Hesitating) 
I told you I am an artist, and he feels- 



Mrs. Dawson 

Nonsense. There's only one reason he won't ask 
you to marry him. Because he's too poor to support 
you. 

Diana 

(Seriously) 
He hasn't given me the opportunity to share things 
with him, has he? 

Mrs. Dawson 
(Emphatically) 
Diana, why shouldn't you make him? 

Diana 

(Playfully, astonished) 
Mother, I thought I was teaching you. What have 
I hatched? 

Mrs. Dawson 
We're just as bad as the men. 



172 


NOWADAYS 




Diana 


I feel worse. 






Mrs. Dawson 



We'd get more if we women weren't afraid to ask 
for it. 

Diana 

{With a thought) 

You mean we're afraid to ask a man to marry us 
if he won't speak? 

Mrs. Dawson 
Yes. We are afraid of grandmother's blush. 

{There is a knock at the door.) 



Daddy! 
Wait. 
What for? 



Diana 

Mrs. Dawson 

Diana 



Mrs. Dawson 
{Smiling) 
Never mind. I was wishing we had that humble pie. 

(Diana opens the door. Mr. Hardman, very 
much out of breathy enters.) 



NOWADAYS 173 

Diana 
Oh! Hello, Mr. Hardman. 

Mrs. Dawson 
{Sweetly) 
It*s you, Oliver. Come in. Sit here. 

Hardman 
{Seated) 
I ought to be used to those stairs by now, eh. Belle? 

Diana 

{As she has crossed and pulled over the curtain, con- 
cealing part of alcove) 
If ever you want to find out your real friends, live 
up five flights of stairs, without an elevator. 

Mrs. Dawson 
Have some tea? 

Hardman 

No, thanks. {Referring to curtain) Diana, you 
needn't conceal the crime any longer. I know now 
why you've always hidden that off every time I came. 

Mrs. Dawson 
{Eagerly) 
There's been a decision about the statue? 



174 NOWADAYS 

Hardman 

{Humorously, delaying to tell them) 

So that's what you were doing — when you weren't 
making little plaster paper-weights to keep the rent 
down. {She smiles.) You knew I was on the Com- 
mittee; but didn't want to influence me. 

Diana 
{Eagerly) 
I wanted to influence you. Anything to win. 

Mrs. Dawson 
But did she win ? 

Hardman 
{Enjoying it) 
I have two surprises for you, Diana. 

Diana 
{Eagerly) 
What's the other one? 

Hardman 
You've won, Diana. 

Diana 
{Not believing it) 
I've won? 



NOWADAYS 175 

Mrs. Dawson 
(With great joy throughout) 
She's won? 

Hardman 

1 opened the envelopes last night after the selection 
had been made and found your name. Your sketch 
was very elaborate and the model perfect. It's a 
wonderful idea and will be even more beautiful when 
cut in marble. Fd give a good deal to have even 
thought it. 

Mrs. Dawson 
{With great joy, and shaking Diana, who stands 
staring before her very seriously) 
Dearest, you've won, you've won! Oh, my girl, 
I knew it, I knew it! 



I've won. 



Diana 
{Dully) 



Mrs. Dawson 
Yes, yes. Think of it, 

Diana 

I've won. I've won. {She sinks into chair and 
murmurs half inaudibly, as she bursts into tears) Oh, 
Peter! 



176 NOWADAYS 

Mrs. Dawson 
(Goes to her consolingly) 

There, there, dear; don't cry like a woman — don't, 
don't! 

Diana 
I dm a woman, mother. I want to cry. 

Hardman 
(Placing hand on Mrs. Dawson, tenderly) 
Let her. 

Mrs. Dawson 

She's always had such courage, Oliver. But we 
all need a little success, don't we ? 

Hardman 
It's often harder to bear than failure. 

Mrs. Dawson 
But it is success. And she's done it all herself. 

Diana 

It's you, mother, who helped me make it possible. 
You. (Hugging her) Oh, she's the dearest mother in 
the world, isn't she? 



NOWADAYS 177 

Hardman 
{Smiling tenderly) 
Everybody's mother is the dearest in the world. 

Mrs. Dawson 
{Giving a contented sigh) 
And now I am satisfied! 

Diana 

{Going to Hardman) 

Forgive me for seeming like a foolish girl. We're 
all kids, we artists, eh ? Did you ever feel like crying, 
Mr. Hardman? 

Hardman 
Yes, Diana; but it was long ago. 

Diana 
Don't think I am ungrateful. 

Hardman 

{He takes her hand, and slowly pulls her head over 
as he kisses her forehead) 

You got it from your mother. 

Mrs. Dawson 

Not everything. It was a man's faith that helped 
her. 



178 NOWADAYS 

Hardman 
{Cheerfully) 
Now comes my second surprise. 

Diana 
I can't stand much more. 

Hardman 

But first I want to suggest you have the marble cut 
in Paris. 

Mrs. Dawson 
Paris ? 

Diana 

{Joyfully) 

Of course, we'll go there. Marble's cheaper. 
Mother's dying to go to Paris. 

Hardman 

It's an expensive place to die in, I'm told. I've never 
tried it. I've a commission for you, Belle, to help you 
live there. Some interior sketches. 

Diana 
{Joyfully) 
So she can be with me? 



NOWADAYS 179 

Hardman 
Partly. 

Mrs. Dawson 

You've been a good friend. (To Diana) But do 
you want any excess baggage now that you have all 
that money? 

Diana 



Mother! 



Mrs. Dawson 



Oliver, we're both so happy, aren't we, over her 
success ? I don't think I'd ever again have the courage 
to ask you what I'm going to. Will you have the 
courage to answer me honestly? 

Hardman 
(Puzzled) 
Why, of course. 

Mrs. Dawson 

(She goes back to easel and brings down to him the 

canvas she has been pmnting) 

Look! You've seen all the others that I did when 
I was not painting the paper dolls. Now tell me, 
honestly, have I gone on any? (He hesitates.) Tell 
me whether my hands haven't grown too old to get 
back the skill that lives only by long effort. Hasn't 
the silence of twenty-five years stilled the spark you 
said was mine? 



i8o NOWADAYS 

Diana 
(Going to her) 
Why, mother dear— — 

Mrs. Dawson 

Tell me, Oliver, can I ever be anything more — ^like 
I might have been? 

(Hardman looks at Mrs. Dawson in a 
friendly, frank way, as though not knowing 
iiow to answer her. Then he bows his head. 
She has watched him, with a sweet smile upon 
her face. Slowly, but not too sadly, she goes 
back to the easel, replacing the picture. As 
she comes back quietly, apparently reconciled, 
Diana, who has looked at Hardman and 
caught his sad expression, goes to her mother 
and embraces her fondly. Mrs. Dawson offers 
her hand to Hardman in a frank, unsenti- 
mental fashion.) 

Thanks, my good friend; thanks. You see, I knew 
soon after I came here. {Smiling throughout) I 
passed it on to Diana, and lost it myself, eh? Don't 
say anything more. I can still do paper dolls, and they 
please the little children. 

Diana 

Mother ! 

Mrs. Dawson 
YouVe known it, too, Diana; haven't you? 



NOWADAYS i8i 

Diana 
I thought you were so happy just trying. 

Mrs. Dawson 
{Cheerfully throughout) 
And being with you. Why, girl, Fm not sorry or 
broken-hearted. Haven't I helped my girl by being 
here? Can't I still go on helping her? 

Diana 

{Eagerly) 
Yes, yes, always. 

Mrs. Dawson 

Think of it, Diana; think of all it will mean to you: 
Paris, opportunity, success, and the knowledge you can 
make beautiful things. I have that knowledge, too: for 
I haven't failed in my motherhood. You are beauti- 
ful — all through. I'm so happy you have what has 
passed me by, so happy. 

Hardman 
( Tenderly ) 
Belle, I'd give up all my position and reputation 
to be able to talk like that to a daughter of my own. 

Mrs. Dawson 
{Looking up and smiling) 
You've missed something, too? 



i82 NOWADAYS 

Hardman 

A great deal. {Half whimsically, as he glances at 
Diana) Did you ever notice how everybody in the 
world is wanting something the other fellow has ? 

Diana 

The statue seems so unimportant all of a sudden. 

Mrs. Dawson 
{Anxiously) 
There now. I've robbed you of the joy of success. 

Diana 

No. Only how can any artist in the world ever 
create more beauty than life itself makes? 

Hardman 
{Earnestly) 

If you feel thatj you know the first great secret of 
success. {A knock is heard.) 

Mrs. Dawson 
( Cheerfully ) 
Your father. He'll be so happy. 

Hardman 

{Stopping her) 

I'm afraid he's grown impatient waiting for me to 
call him. It's the other surprise. 



NOWADAYS 183 

Diana 
{Grasping it) 
Peter Row! 

Hardman 

I wired him the news and said you wanted to see 
him. Strange how I knew, eh? 

(Hardman has opened the door, and Peter 
stands there, smiling. He enters and closes 
the door.) 

Peter 
Diana! 

Diana 

{He stands looking only at her as she takes his hand) 
Peter! 

Mrs. Dawson 
Fm here, too, Peter. 

Peter 
So you are. How are you? 

Mrs. Dawson 
I'm bearing the news splendidly. 

Peter 
Isn't it fine? 



i84 NOWADAYS 

Hardman 

(Recognizing the situation and taking up his hat during 

the embarrassed pause) 

You haven't answered me about that commission, 
Belle. 

Diana 

She'll do it. 

Mrs. Dawson 
You wish it, Diana? 

Diana 
Of course, I do. 

Mrs. Dawson 

Then I'll come around to the office to-morrow for 
particulars. 

Hardman 

All right. Peter, I wired you to interview Diana 
for the "Arts and Crafts Monthly." Remember. 
That's all. 

Peter 
I'm a good poker player. I know my limit. 

Hardman 
{By door, referring to stairs) 
It's so much easier going down. 



NOWADAYS 185 

Peter 

You ought to try sitting on the steps with a harp 
in your hand. 

Diana 
{To Hardman at door as Peter has gone across to 
Mrs. Dawson) 
I've got a copy of the model in there to exhibit at 
the Academy. {Referring to hidden model) I'm going 
to give father one if he'll destroy the terra-cotta. 
{Smiling) Will you let me make a replica for you? 

Hardman 

Thanks. I'll keep it with the water-color your 
mother gave me. It will fill a place in my house that's 
been long empty. 

(Hardman goes out, closing door.) 

Peter 

You ought to see how mad the town is. You might 
think a dog bit it. All the old pinheads were sore 
because a woman won it. They think it's immodest. 

Diana 

{Laughing) 
Wait till they see the statue. 

Mrs. Dawson 
Did you see Mr. Dawson? 



i86 NOWADAYS 

Peter 
He 'phoned me to find out who won the prize. 

Diana 

{Pleased) 
He did? 

Peter 

He says he always knew you'd do it. (To Mrs. 
Dawson) He thinks Diana's got a mind like a man. 

Mrs. Dawson 
{Drily) 
Couldn't he do any better than that? 

Peter 

There's no reason why, he added, if he supplied the 
plumbing you shouldn't supply the art. 

Diana 

The family feeling to the end! 

Mrs. Dawson 
Did he say anything for publication? 

Peter 

He told me to tell all the pinheads in town to go 
to Hell, with his compliments. 



NOWADAYS 187 

Diana 

Sounds as though he were thinking over that Paris 
proposition. 

Mrs. Dawson 
{More interested) 
What did he do? 

Peter 

He rang me off. Had to make the B. & O., Vm 
told. 

Mrs. Dawson 
{Looking at her watch) 
Yes, he must have been held up on the way. 

Diana 

And brother Sammy? 

Peter 

Sam*s been arrested five times for speeding In your 
father's new machine. Says it advertises the firm. 

Mrs. Dawson 
Are he and Betty getting along any better? 

Peter 

Yes, he's away now. — Been off some days on a 
business trip. {After a 'pause) Betty and the baby 



i88 NOWADAYS 

came on the Pennsylvania with me. {They both look 
up, quite astonished.) Felt like a married man. She 
found out the train I was leaving on and met me at 
the station. Says she wanted to see you, Mrs. Dawson. 
That's all I could get out of her for once. 

Mrs. Dawson 
Strange ! 

Diana 

Where is she? 

Peter 
At the Hotel Mildred — round the corner. 

Mrs. Dawson 
{Putting on her bonnet) 
Fd better go — if you don't mind, Peter. 

Peter 
{Smiling) 
Vm bearing the news splendidly. 

Diana 
Bring her here, dear. 

Mrs. Dawson 
{Puzzled) 
What could have brought her to the city—- and with 
the baby? 



NOWADAYS 189 

(Mrs. Dawson goes out, Diana and Peter 
stand in silence some moments. The late after- 
noon sun deepens into red during this.) 

Peter 
Well, you've done it. 

Diana 
I simply couldn't disappoint you. 

Peter 

It would have made no difference in my faith had 
you failed. 

Diana 

You said when I was a success you'd tell me why 
you wouldn't come to the city. 

Peter 
Are you sure you haven't guessed? 

Diana 

(Frankly and honestly throughout, with no coquetry) 

A girl likes to have a fellow say it. 

Peter 
Even when he feels he has no right? 



190 NOWADAYS 

Diana 

Don't you think she should have some say about that 
— if they're both honest? 

Peter 
You're going to Paris whether I say it or not. 

Diana 
{Impulsively) 
y How much does it cost to live in Paris? 

Peter 
For a bachelor? {She nods,) A million a minute. 

Diana 
For a married man? 

Peter 
Nothing to speak of. 

Diana 

How much would it cost me? 

Peter 
They'd pay you to go there. 

Diana 
Honestly? 



NOWADAYS 191 

Peter 
No, not honestly. 

Diana 

But if I lived in the Latin Quarter with a married 
man? 

Peter 
Whose married man? 

Diana 
My own. 

Peter 
You've got a husband in sight? 

Diana 

Yes, I've had my eye on him for some time. Peter, 
will you go to Paris with me? 

Peter 
To meet your husband? 

Diana 

To be my husband. Will you be my husband ? 

Peter 
This isn't the way it's generally done, is it ? 



192 NOWADAYS 

Diana 

It's the only way I've ever done it. (Seriously) 
Peter, I mean it. 

Peter 
That's the trouble. 

Diana 
You're not going to refuse me? 

Peter 

(Taking her hand) 

Diana, ever since you were a kid, with your hair 
hanging down like a bell rope, and I was trying to 
be comfortable in my first long trousers, you've meant 
everything to me. 

Diana 

You ought never to have put on those long trousers, 
Peter. I was lost from that moment. 

Peter 

I've watched you grow up and loved you more every 
time your hair went higher and your skirts went lower. 
I saw early you had a great gift. When you're dead 
they'll call it genius. And I made up my mind I 
could do my little share towards your success by just 
understanding, and not hindering you. 



NOWADAYS 193 

Diana 
I've held your hand through the years. 

Peter i 

Then don't make me feel I did it all for a reward. 
I was doing it for you, Diana. You'll go out- into 
the world now and meet men — men who can give 
you more than a bum reporter on a standpat town 
paper. Others will give you opportunity — ^and that's 
almost as important as having genius. Why, Diana, 
I'm not going to stand in the way now. Wait till 
you've seen the world a bit, and what it has in store 
for you, before you talk of marriage. No, no, little 
Diana of the pinafores, Peter of those first long 
trousers has got to refuse you. 

Diana 
{Who has listened, with a whimsical smile) 
Are you through? 

Peter 
{Smiling) 
Are you going to edit my copy ? 

Diana 
Peter, you men are so funny. 

Peter 
Do I deserve punishment, too? 



194 NOWADAYS 

Diana 

Yes; if you're going to spoil my faith in you when 
I need it most 

Peter 
{Shaking his head) 
You don't need me any longer. 

Diana 

• 

It's what you've given me that has made me what I 
am. Why, you are part of me, Peter. Are you going 
to make me feel I'm a failure because what I loved 
failed me? {He looks at her questioningly.) Yes. 
There must be thousands of women all over the world 
whose lives would become richer if only there were a 
man to help or understand; women to-day breaking 
through their traditions and inheritances, their cramped 
surroundings, and reaching out. But they can't all do 
it alone. They need the men to understand and help. 
Look at mother and how hard father has made it 
for her. But it's been easier for me. I've always felt 
your hand. It was your words that gave me the 
courage to live up to what I felt. 

Peter 
You would have gone on, anjrway. 

Diana 

Yes, in a fashion; but not with the same firmness 
of foot. I knew your spirit walked by my side. And 



NOWADAYS 195 

now that we've reached the turning place, I won't 
have you leave me. 

Peter 
I will always be there. 

Diana 

I want you, Peter. You! This moment means 
more to me than 

Peter 
Than what may come with your work? 

Diana 

Yes. It is here my life and work seem to have met. 
You mean both. I want both. I'm throwing aside 
all my inheritance, forgetting it's the man who should 
propose. I'm asking you to marry me, Peter, because 
we love each other. I'm asking my full life with the 
man I love. And you're failing me for the first time. 
(He looks at her in question.) You always said 
marriage would have a better chance for happiness 
when a man and woman both contributed to the home. 
But here you face the situation and fail to live up to 
what you said you believed. You're not putting aside 
all your traditions and feelings that your grandfathers 
held. You're not meeting me with the same freedom 
and honesty I'm giving you. For you won't ask me 
to marry you, though I can contribute my share now, 



196 NOWADAYS 

because you really feel a man should support a woman 
and you haven't enough money to support me. 

Peter 
{Starting to turn away) 
You see, no one is quite free from the past. 

Diana 

{Putting her hands on his shoulders and speaking with 

great frankness and honesty) 

I have no feeling that I am pocketing my pride. 
I'm honest and glad that I'm free enough to ask you 
to marry me. Wouldn't I have failed you if I'd been 
held back by the false feeling which holds you back ? 



Peter 



It's different. 



Diana 
( Withdrawing) 

You say that? You who made me feel you were 
a man with the same way of looking at life that I 
have? {She hesitates a moment and then, with a quick 
resolution, she pulls aside the curtain which conceals the 
model of the statue.) Look! 

Peter 
( Gazing) 
The statue? 



NOWADAYS 197 

Diana 

Yes. " Democracy." I got the thought that day 
when you were by my side. It was the result of all 
we had talked over. I tried to catch it in marble. 
A man and a woman marching side by side, step by 
step. I've broken away from the old form that made 
the man lead far ahead with the woman trailing behind. 

Peter 
You put them on the same line. 

Diana 

Both looking far ahead. 

Peter 
With hope in their eyes. 

Diana 

Yet, as I modeled them both, I felt they were not 
complete without — ^without 

Peter 
The child. 

Diana 

{More softly) 
See how it's carried between them. Not the mother 
alone, but the father, too, holding the little hands as 
they climb up the incline 



198 NOWADAYS 

Peter 



Together. 



Together. 



Diana 



Peter 
(With awe and enthusiasm) 
It's wonderful ! 

Diana 

{Turning to him with a quiet, earnest intimacy) 

Peter, doesn't that tell you all my heart is asking? 
Shall I be kept from my right to that because you 
haven't a lot of money when I have enough now 
to start our lives together? What right had you to 
be silent when it concerned my life, too? Shall you 
and I waste our years of youth because you wouldn't 
speak? Peter, we belong to each other. I want you. 
I love you. 

{He draws her to him as she looks up eagerly 
into his eyes. Then he kisses her and still holds 
her,) 



Peter 
{Comically) 
Shall I do your housework for you? 



NOWADAYS 199 

Diana 

(Same) 
Peter, I love you. 

Peter 

Sammy won't like my marrying you for your money. 
( They kiss.) What will I do with a bride in Paris? 

Diana 

Forget you're married. 

Peter 
Are you going to give me an allowance? 

Diana 

(Smiling) 

So much a week till you finish your novel. Then 
you can buy me an automobile. 

Peter 

Must I write my masterpiece now? (She nods,) 
I feel more like living it. 

Diana 

(Radiantly) 
We will live as well as work, won't we, Peter? 



200 NOWADAYS 

Peter 
Watch me. {They kiss again,) 

(Mrs. Dawson enters. She sees them and 



they turn.) 



Mrs. Dawson 



I missed Betty. I thought she'd come around here. 
Tm not intruding, am I? 

Diana 

No, mother. Peter's consented to be my husband. 

Peter 
It's got past the Ways and Means Committee. 

Mrs. Dawson 

You're really going to marry my girl? 

Peter 
It will be real enough. 

Mrs. Dawson 

{Naively) 

How did you ever get up the courage to ask her? 
{He coughs.) You're not going to ask her to give 
up her work? 



NOWADAYS 201 

Peter 

I've got to live. Besides, I'm not vain enough to 
feel a husband is sufficient excitement for any wife. 

Mrs. Dawson 
{Going to him and kissing him) 
Be good to her. I shall miss her. 

Diana 

{Looking up) 
Why, I'm not going far away from you, dear. 

Mrs. Dawson 
Where is he taking you? 

Peter 
I'm going to give Paris a treat first. 

Diana 
We three, dearest. 

Mrs. Dawson 
We three? 

Diana 

Twenty-five thousand dollars, minus marble, will 
do it for a while. 



202 NOWADAYS 

Peter 

Say, Mrs. Dawson, I've got a few diamond-studded 
Ideas I can hock to some of the newspaper syndicates. 
They will pay for the blanc-mange and the tutti- 
frutti. 

Mrs. Dawson 

(Smiling throughout this and keeping her spirits up) 

I can't go any further with you, Diana. My part 
is finished. 



Mother! 



Diana 
{Halted) 



Peter 
{Seriously) 
You mean I'm coming between you two? 

Diana 

No, no! 

Mrs. Dawson 

I stayed by, waiting till you two were ready. I 
didn't know when you'd fix it up. You were both so 
foolish about it. I knew I'd have to lose you, Diana. 
I've gone as far as a mother can go with her girl. 

Diana 
Yet it was you who showed me I should ask for it. 



NOWADAYS 203 

Peter 
{Turning away) 
You make me feel like a cradle-snatcher. 

Mrs. Dawson 

It will come to you both, some day. IVe held on 
longer than most mothers. 

Diana 
Dearest, I didn't think it would mean this. 

Mrs. Dawson 
You should not have thought of me, at this time. 

Peter 

Mrs. Dawson, won't you come along for my sake? 
The way she kidnapped me just now I'm afraid to 
be alone with her, really I am. She's going to make 
me work. 

Mrs. Dawson 

Honestly now, the two of you — don't you want to 
go ofE by yourselves? 

Diana and Peter 

( Together) 
No, no. 



204 NOWADAYS 

Mrs. Dawson 

Then I won't consent to your marriage. — ^You ought 
to be ashamed of yourselves. Why, Peter, you're 
marrying her, not her family. 

Peter 
That isn't customary, is it ? 

Mrs. Dawson 

{Smiling and trying to keep back her tears) 

I'd be a nice sort of mother tagging around like 
an old trunk that ought to be placed in the attic. 
Didn't I tell your father the same thing about Betty 
and Sammy? No, young people should start alone. 
Imagine taking a mother-in-law with you to Paris. 
(She goes to Diana.) Dearest girl, we older ones 
can only go so far with the younger, then we must 
hold our hands out after them as they go on. I fooled 
myself once into thinking I could always be with you. 
But I'm fifty-one. Don't you see, Diana? You gen- 
erally do, no matter how hard it is. 

Diana 

{Realizing it) 
Mother, you're not afraid to let me go with Peter? 

Mrs. Dawson 
He's a thief, but I like him. 



NOWADAYS 205 

Diana 

(Firmly) 
You will stay with me every moment till 



Mrs. Dawson 

{Losing control of herself for a second, she hugs 
Diana quickly) 

Every moment — every moment till then. 

(Peter has gone up in back during this,) 

Diana 

(After a silence) 
And what will you do when Fm gone? 

Mrs. Dawson • 

I haven't thought it out. 

Diana 

You'll go back to father? 

Mrs. Dawson 

Go back to him, just because you're going to Peter? 
Indeed not. Mr. Hardman says I'll never be a great 
painter. I wonder if I might be a Cubist ? 

(A timid knock is heard,) 

Diana 

(Jumping up) 
Father ! 



2o6 NOWADAYS 

Peter 
Timid knock for daddy-in-law. 

Diana 

Wait till you hear what he says about my coming 
marriage. 

{She opens the door and Betty stands there, 
holding her baby. She seems frailer and is out 
of breath.) 

Betty, dear! Fm so glad to see you. Come in! Let 
me take the baby. Oh, how dear she is. {She closes 
the door, after kissing Betty and taking the baby.) 

Mrs. Dawson 

( Going to Betty and greeting her affectionately as she 
makes her sit down ) 

I missed you at the hotel, dear. 

Betty 
I must have passed you. 

Mrs. Dawson 
Wait till you get your breath. Everybody does. 

Betty 
May I have a mouthful of water ? It's so warm. 



NOWADAYS 207 

Diana 

{Showing baby to Peter, who has come down to her) 
Look! 

Peter 
Hasn't it grown? 

Diana 

" It "? ^Vhy do men all call a baby " it "? 

Peter 
That's what I was at the start. 

Diana 

She's a dear. 

Peter 
Got Sammy's mouth. 

Diana 

And Betty's eyes. 

Peter 
Your grandfather's nose. 

Diana 

Isn't she beautiful? She feels so warm and real. 
{Offers it to him. He tries to avoid it,) I want to 
see if you know how to hold them. 



2o8 NOWADAYS 

Peter 
Think I'm going to wrestle with it? 

Diana 
{As he takes hold in an embarrassed way) 
Not that way. 

Peter 
Oh! I thought Fd dropped it — ^her. 

Diana 

{Showing him) 

This way. {Stands admiring as he smiles broadly.) 
You're fine, Peter. ( Then she puts her hand seriously 
on his arm.) Peter, you know all I'm thinking? {He 
lowers his eyes as she speaks with an intimacy, while 
she glances from the baby to him.) So much greater 
than marble! 

(Mrs. Dawson has given Betty the water 
and then crosses and takes the baby from 
Peter.) 

Mrs. Dawson 
{Sweetly) 
What a dear baby! Let me hold her. 

Diana 

Takes you back, eh, mother? 



NOWADAYS 209 

Mrs. Dawson 

A great many years. 

(Mrs. Dawson has seated herself, holding the 
baby, as Betty has risen and Diana has gone 
to her affectionately.) 

Diana 

What brought you here, Betty? 

Betty 

{Slowly) 

Sammy's left me. (Diana holds her in astonish- 
ment. Mrs. Dawson looks up from the child.) 

Peter 

You're mistaken, Betty. Mr. Dawson himself sent 
word to the " Times " that he'd sent Sam on business 
to 

Betty 

{Interrupting) 

He doesn't know Sammy's gone for good. / know. 
He told me. 

Mrs. Dawson 
{Half to herself) 
I always thought he'd 



210 NOWADAYS 

Betty 

Don't pity me. He didn't love me, and after what 
he said to me — oh, I can't repeat it — I guess I don't 
love him. And here's our baby. {Helplessly) What 
can I do? 

Diana 

{Tenderly) 

Did you come to us because it was too much for you 
at home? 

Betty 

I don't know why I came. It was the only thing 
I could seem to think of doing. Mrs. Dawson, you 
left me there, and it was too much for me. It isn't 
that Mr. Dawson's unkind. He seems to understand. 
He's fond of the baby, too {Half smiling), though he 
wishes she were a boy. But I don't seem to know what 
to do or how to do it. I can make pretty baby clothes 
and think of all I'd like baby to be and love her to 

death . But I don't know how to take care of 

her, and I'm afraid. 

Diana 
You mustn't be afraid, dear. 

Betty 

Oh, Diana, I'm not much use and God's given me 
a little baby to bring up and I don't think I can. 



NOWADAYS 211 

Peter 
( Tenderly ) 
And you came here because? 

Betty 

{Her face brightening) 

I thought perhaps youd help me, Mrs. Dawson. 

Diana 

Mother? 

Betty 

Yes. She's had babies. She might take care of my 
baby and bring her up so she will be like you, Diana. 

Mrs. Dawson 
{Half to herself) 
Like Diana. 

Peter 
{Kindly) 
You*re not wishing to shirk your job? 

Betty 

Is it my job if I don't feel I can do it? I don't 
know, only I love my baby so I want her to have every 
chance and I — I can't give it. 



212 NOWADAYS 

Diana 

Dearest Betty, you're all upset. 

Betty 
I want to do what's right for baby and 

Diana 

And mother? V 

Mrs. Dawson 
Sh! 

Betty 
{Poignantly) 
I know. Who's to do it? /can't! 

Peter 
{To Betty) 

And what will you do? 

Betty 
I don't know. I'm all cried out trying to think. 

Diana 

{Comforting her) 
We can't think when we cry. 



NOWADAYS 213 

Peter 

{Kindly) 

Betty, come now; you're not yourself. You're not 
going to give up like this. 

Betty 

{As she goes to his arms and he comforts her) 

I'm a miserable little bird whose wings are too weak 
to fly. 

Peter 
Can I talk with her alone, Diana? 

Diana 
Yes. In there. {Indicating back room,) Shall I? 

Peter 
No, let me. Come, Betty. 

Betty 

Don't think I mind Sammy's leaving me, Mrs. Daw- 
son. I don't. That's over. (Mrs. DaWson nods 
slowly in agreement as she stares before her.) It 
wouldn't be so hard at home now that he's gone, if 
only 

Peter 
We'll talk it all over, come. 



214 NOWADAYS 

Betty 

Oh, Mrs. Dawson, if you were only there to help 
me and show me, I think I'd be happy and 

(Peter puts his arm about her and they go out 
into the back room, closing the door. There 
is a pause, Diana goes slowly to her mother, 
kneels beside her, taking her hand, looking at 
the baby and then at her mother. The room 
has darkened and the moonlight slowly grows 
brighter, flooding the place where they are,) 

Mrs. Dawson 

{Smiling) 

I couldn't be all I wanted in my work. Then Peter 
took you, as he should. And now my son's little baby 
is reaching out her hands. Maybe the child knows this 
is what I can do best. She's such a pretty baby, isn't 
she? 



Diana 



Dearest ! 



Mrs. Dawson 

{Calmly and with a sweet resignation) 

Yet I'm happy, Diana. Isn't it strange? I'm quiet 
inside all of a sudden. Maybe, after all, I'm more a 
mother than anything else. There's always some one 
to take care of the children. 



NOWADAYS 215 

Diana 

{Looking at the child with a sense of mystery) 

To be a mother must be the greatest thing in the 
world. 

Mrs. Dawson 

For some women, yes. But I don't suppose there's 
any law in the world that can make every woman a 
good mother. We must all remember that in judging 
Betty. 

Diana 

{Mysteriously) 

Wouldn't it be terrible if you longed for a baby 
of your own and it didn't come to you? 

Mrs. Dawson 

{Looks at her and smiles sweetly as Diana leans close 

to her) 

I understand, dearest. 

(Peter re-enters,) 

Peter 
She's quieter now. 

Mrs. Dawson 

Perhaps it's all for the best. 



2i6 NOWADAYS 

Diana 

{Rebelliously) 
I'd hate to think a child should be a chain to tie 
people together when they no longer love each other. 

Mrs. Dawson 

It isn't fair to the child. That's what I'm thinking 
of now — since Sammy is what he is. {Her face bright- 
ening.) Maybe Betty and I together could She'll 

go back with me? 

Peter 
{Reluctantly) 
That's all she seems to ask for. 

Mrs. Dawson 
Betty and I always got along. 

Diana 

You're going back? 

{There is a sharps commanding knock on the 
door.) 

Mrs. Dawson 
{Smiling) 
That's your father. 

Diana 

You're going back? 



NOWADAYS 217 

Mrs. Dawson 

Not as a failure! I've helped you. {Looking at 
child) I can still be of use now. 

Diana 

Mother, I can't say anything. 

Mrs. Dawson 

{Calmly) 

There's nothing to say about life, children. It's all 
mixed up. Some of us are further along the road 
than others. Some of us must stay where we are. 
You and Peter are far ahead. It's your strength 
and not your weakness that is on fire. I shall hold 
out my hands to you both very often. 

Diana 
We shall feel your love as we look back. 

{The knock is repeated,) 

Mrs. Dawson 

Let your father in. Things will be different now. 
He'll be as glad I'm coming back as I am that you 
and Peter are going on. 

(Diana kisses her mother and goes slowly to 
the door. Peter has come down by Mrs. 
Dawson. She looks from the baby and then 
smiles up into his face,) 



2i8 NOWADAYS 

She may be another Diana, Peter. That's worth work- 
ing for, eh? 

(Diana opens the door and Dawson stands 
there. He comes in after a moment.) 

Dawson 
You win, Belle. We're going to Paris. 

Mrs. Dawson 

{Smiling sweetly) 

You and I are going back home, Will. 

( Dawson stands, silent. There is a faint light 
from the hallway outside, but the room is full 
of shadows. Mrs. Dawson, holding the help- 
less little baby in her arms, is flooded by the 
moonlight from the windows above.) 

[the curtain falls slowly] 



THE END 



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$2.00 net. 

Postage on net books 8% additional 

HENRY HOLT AND COMPANY 

PUBLISHERS NEW YORK 



THE THEORY OF THE THEATRE 

And Other Principles of Dramatic Criticism 

By Clayton Hamilton. Author of " Materials and Methods 
of Fiction." $1.50 net ; by mail, $1.60. 

CONTENTS : 

The Theory of the Theatre. — What is a Play? — The Psychology 
of Theatre Audiences. — The Actor and the Dramatist. — Stage Con- 
ventions in Modern Times. — Economy of Attention in Theatrical Per- 
formances, — Emphasis in the Drama. — The Four Leading Types of 
Drama: Tragedy and Melodrama; Comedy and Farce. — The Modern 
Social Drama. 

Other Principles of Dramatic Criticism. — The Public and the 
Dramatist. — Dramatic Art and the Theatre Business. — The Happy End- 
ings in the Theatre- — The Boundaries of Approbation. — Imitation and 
Suggestion in the Drama. — Holding the Mirror up to Nature. — Blank 
Verse on the Contemporary Stage. — Dramatic Literature and Theatric 
Journalism. — The Intention of Performance. — The Quality of New 
Endeavor. — The Effect of Plays upon the Public. — Pleasant and Un- 
pleasant Plays. — Themes in the Theatre. — The Function of Imagination. 

Bookman : " Interesting papers. . . . Presents coherently a more sub- 
stantial body of idea on the subject than perhaps elsewhere accessible. . . . 
Mr. Hamilton tells his facts more concretely and briskly than Mr. William 
Archer, and with more valuable contemporary allusion than Professor Bran- 
der Matthews. . . . Many familiar things he puts more strikingly than be- 
fore. . . . An acute analysis of the ingredients of stage appeal. . . . Sugges- 
tive and illuminating. . . . Definite and effective." 

Boston Transcript : " Briefly and succinctly Mr. Hamilton outlines the 
four leading types ... at every moment of his discussion he has a firm 
grasp upon every phase of the subject." 



THE GERMAN DRAMA OF THE 
NINETEENTH CENTURY 

By Georg Witkowski. Translated by Prof. L. E. Horning. 

i2mo. $1.00. 

Kleist, Grillparzer, Hebbel, Ludwig, Wildenbruch, Sudermann, Haupt- 
mann, and minor dramatists receive attention. 

New York Times Review : " The translation of this brief, clear, and 
logical account was an extremely happy idea. Nothing at the same time 
so comprehensive and terse has appeared on the subject, and it is a 
subject of increasing interest to the English-speaking public." 



HENRY HOLT AND COMPANY 

PUBLISHERS NEW YORK 



SIXT H EDITION, ENLARGED AND WITH PORTRAITS 

HALE'S DRAMATISTS OF TO-DAY 

Rostand, Hauptmann, Sudermann, 
PiNERO, Shaw, Phillips, Maeterlinck 

By Prof. Edward Everett Hale, Jr., of Union College. 
With gilt top, $1.50 net; by mail, $1.60. 

Since this work first appeared in 1905, Maeterlinck's Sister 
Beatrice, The Blue Bird and Mary Magdalene, Rostand's 
Chantecler and Pinero's Mid-Channel and The Thunder- 
BOLT— among the notable plays by some of Dr. Hale's drama- 
tists—have been acted here. Discussions of them are added 
to this new edition, as are considerations of Bernard Shaw's 
and Stephen Phillips' latest plays. The author's papers on 
Hauptmann and Sudermann, with slight additions, with his 
"Note on Standards of Criticism," "Our Idea of Tragedy," 
and an appendix of all the plays of each author, with dates of 
their first performance or publication, complete the volume. 

Bookman: " He writes in a pleasant, free-and-easy way. . . . He 
accepts things chiefly at their face value, but he describes them so ac- 
curatelj*- and agreeably that he recalls vividly to mind the plays we 
have seen and the pleasure we have found in them." 

New York Evening Post : " It is not often nowadays that a theatrical 
book can be met with so free from gush and mere eulogy, or so weighted 
by common sense ... an excellent chronological appendix and full 
index . . . uncommonly useful for reference." 

Dial: " Noteworthy example of literary criticism in one of the most 
interesting of literary fields. . . . Provides a varied menu of the 
most interesting character. . . . Prof. Hale establishes confidential 
relations with the reader from the start. . . . Very definite opinions, 
clearly reasoned and amply fortified by example. . . . Well worth 
reading a second time." 

New York Tribune: "Both instructive and entertaining." 

Brooklyn Eagle: "A dramatic critic who is not just 'busting' him- 
self with Titanic intellectualities, but who is a readable dramatic critic. 
. , . Mr. Hale is a modest and sensible, as well as an acute and sound 
critic. . . . Most people will be surprised and delighted with Mr. 
Hale's simplicity, perspicuity and ingenuousness." 

The Theatre: "A pleasing lightness of touch. . . . Very read- 
able book." 



HENRY HOLT AND COMPANY 

PUBLISHERS NEW YORK 



